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Frankie admits that Brandt has been buying up property to build an expensive resort, but she is the lone holdout. Dalton decides to leave town but discovers that Charlie and Stephen are in the hospital after Brandt's men burned down their bookstore. Enraged, Dalton kills one of the thugs responsible and captures a sheriff's deputy making a large delivery of Brandt's illicit cash, framing the deputy for the murder and taking the money. The sheriff soon informs Dalton that Brandt has kidnapped Ellie and will exchange her for the money. Turns out you can’t—and that’s exactly the strength of the new film, out on Prime Video on March 21. Liman, Gyllenhaal, and company recognize that what made the original Road House so delightfully stupid won’t quite work in 2024.
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Of course, in a town with two residences, there may not be much pent-up housing demand. Road House has achieved cult status and was voted as the most watched film on cable in 2020.[5][6] A sequel titled Road House 2 was released in 2006 and a remake with the same name was released in 2024. As silly as it sounds, that push-and-pull between realism and cartoonish insanity that rests in McGregor’s performance is indicative of the quality of the movie overall. Gyllenhaal is making one movie—a story of an almost-Zen fighter pushed past his breaking point—while people like Magnusson and McGregor lean into the ridiculousness in the other half. Of course, there are a lot of ‘80s movies with grounded heroes and exaggerated villains, but this new “Road House” makes one appreciate the balance of those more.
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Dalton’s climactic mano a mano with lead goon Jimmy—choreographed in large part by Swayze and his scene partner Marshall Teague themselves—is one of the greatest fight scenes ever filmed, full stop. But Road House is known as the best bad movie of all time because of the considerable chops involved in making it. Romantic leads Swayze and Kelly Lynch were coming in hot off sexy performances in the smash hits Dirty Dancing and Cocktail, and they look every inch the babes they’re supposed to be. Swayze in particular is a fascinating casting choice for the role, bringing his trained dancer’s physicality to the ass-kicking contest and winning over and over again. Lynch is one of the few humans alive at the time who could hold up her end of a nude scene with a Swayze in that condition. Elliott, meanwhile, has had every woman I know who’s watched this movie reacting like a wolf in a Tex Avery cartoon.
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By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes. By creating an account, you agree to the Privacy Policy and the Terms and Policies, and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands. Climbing up on a causeway, Knox carjacks a pickup truck and crashes into the Road House, leading to a brutal fistfight with Dalton.
Initially hesitant, Dalton takes up the offer after narrowly averting a suicide attempt with a freight train that destroys his car. He takes a bus to Frankie's establishment, called simply The Road House, and befriends Charlie, a teenager who runs a bookstore with her father, Stephen. Road House is a 2024 American action film directed by Doug Liman, written by Anthony Bagarozzi and Chuck Mondry and produced by Joel Silver. It is a remake of the 1989 film of the same name and stars Jake Gyllenhaal, Daniela Melchior, Conor McGregor (in his feature film debut), J. Later, Wesley contacts Dalton threatening that either Elizabeth or Garrett will die. Garrett is attacked, but fights off his assailants and comes to Double Deuce, while Dalton checks on Elizabeth, who is safe but unwilling to talk to Dalton any further.
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He struts and smiles like an aggro Popeye, and it feels like Liman told him to go over the top and so McGregor shot to the moon. There are times when his awkward line readings sound abjectly wrong, but maybe that’s intentional? It’s a constant push-and-pull of whether or not McGregor is purposefully awkward because Knox is a sociopath or if the fighter just doesn’t yet know how to put words together on screen. Fans of the original Road House know it starred the late Patrick Swayze as James Dalton, a bouncer hired at a roadside bar who was tasked with whipping the establishment into shape.
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Patrick Swayze's 'Road House' Defined the So-Bad-It's-Good Movie. The Remake? Not So Much. - Reason
Patrick Swayze's 'Road House' Defined the So-Bad-It's-Good Movie. The Remake? Not So Much..
Posted: Fri, 22 Mar 2024 07:00:00 GMT [source]
Kelly Lynch started telling a well-received anecdote about how Bill Murray and his brothers call her husband any time they catch her big sex scene in the movie on cable. And a growing legion of fans discovered you can’t find its unique blend of sturdy construction and cockamamie content anywhere else. While that may sound harsh, some of the Looney Tunes-esque qualities of this reimagining of the 1989 Patrick Swayze classic work in its favor.
‘Road House’ Review: Jake Gyllenhaal Takes Command in an Ultraviolent Retread That Makes Slumming Look Artful - Variety
‘Road House’ Review: Jake Gyllenhaal Takes Command in an Ultraviolent Retread That Makes Slumming Look Artful.
Posted: Fri, 08 Mar 2024 08:00:00 GMT [source]
When he’s not writing as Terrell, he’s writing under his pseudonym Tavion Scott, creating scripts for his audio drama podcasts. Terrell is a huge fan of great storytelling when it comes to television and film. Some of his favorite shows include The Crown, WandaVision, Abbot Elementary and Godfather of Harlem.
Extraordinarily stupid, sure, in that it involves a lot of drunken yokels being socked in the jaw and tossed through tables. But cinematographer Dean Cundey (Jurassic Park, Back to the Future) and editors John F. Link (Die Hard, Predator) and Frank J. Uribe (RoboCop, Basic Instinct) made it a work of art. The battles between Dalton and his bouncers on one end and Brad Wesley’s goons on the other are near-constant and always impactful.
Especially in the first hour, when director Doug Liman and Anthony Bagarozzi & Charles Mondry are setting the table for what’s to come, there’s a fun B-movie throwback aesthetic to “Road House” that clicks for long stretches. However, once this defiantly goofy movie starts to take itself seriously, and asks us too often to do the same, the wheels come off with ridiculous twists, awkward line readings, and some of the worst fight CGI in years. This movie is so top-heavy with plot, it can even afford to ignore some obvious possibilities.
They also set Dalton’s character as the kind of guy who drives his enemies to the hospital after he beats them up. When “Road House” opens, Elwood Dalton (Gyllenhaal) has fallen from grace. We don’t know how, but we know he’s so famous and so physically imposing that he scares combatants (including Post Malone) out of a fight club ring before they even throw a punch. Her establishment has been threatened by local, motorcycle-riding tough guys for weeks and she can barely stay open. “Road House is the story of one bouncer’s quest to free a small town from the iron fist of the guy who is on the verge of opening the area’s first JC Penney.
At said hospital, Dalton meets a doctor named Ellie (Daniela Melchior), who challenges his alleged altruism—after all, he just clogged up her ER with a bunch of idiots who wouldn’t be there if he wasn’t such a tough guy in the first place. Obviously, Ellie will be the love interest for Dalton, but the film takes forever to get there and then backs away from their relationship almost immediately, turning elements of Ellie’s life into plot twists. It’s understandable that Dalton is hesitant to be happy again given the trauma that’s revealed about his past, but the dynamic between him and Ellie is one of several in this film that feels uncertain of its own purpose. In the ‘80s movies that “Road House” so desperately wants to be, there’d be actual passion between Dalton and Ellie instead of the tentative stuff that unfolds here more out of narrative necessity.
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