Road House

I love this movie. It is a brilliant dissection of "testosterone movies" in their most basic form. Typically, these films rely on a formulaic group dynamic to add depth to the stoic hero, as seen in the original. When the hero began to show emotion, another stoic figure was introduced to maintain the balance. In this reimagining, the tables have turned. The surrounding cast of characters are formulaic stereotypes, including the dastardly villains. This approach cleverly mirrors the original's tactic but with a twist. For example, the antagonists follow the same pattern: once the main antagonist, Brandt, reveals any emotion, it is perceived as weakness, prompting the introduction of a more intense and hyper-masculine antagonist, Knox. This shift highlights the film's commentary on the traditional portrayal of strength and vulnerability. The protagonist, Dalton, adds unexpected layers to the story. Unlike the typical stoic hero, Dalton displays mental health struggles and other vulnerabilities, making him a more complex and relatable character. He is constantly conflicted and fighting his inner demons, much like Knox, but he strives to control his wild and reckless tendencies. For example, Dalton's struggle with his darker impulses is poignantly depicted in scenes where he battles both external foes and his internal conflicts, showcasing his depth and humanity. This modern-day Western with a twist offers a fresh perspective on the concepts of heroes and villains. By the end, the film delivers a new message that challenges traditional notions of heroism and villainy. The nuanced portrayal of Dalton's character and his journey towards self-acceptance and control provides a thought-provoking narrative. For instance, the climax where Dalton must confront his own nature and make a crucial decision encapsulates the film's theme of inner strength and redemption. Overall, this movie stands out for its innovative take on a familiar genre. It successfully deconstructs the typical testosterone-fueled narrative by focusing on the protagonist's vulnerabilities and internal struggles. This fresh approach not only adds depth to the characters but also redefines the genre's conventions. I would love to see more stories told in this manner, offering new perspectives and challenging traditional narratives.

Director Doug Liman’s “Road House” is a wild ride of fightin’, spittin’, cussin’, and bone snappin’, a testosterone-fueled muscle movie that’s perfect for a weekend stream. Taking a more dramatic angle with a drug and crime story, this re-imagining of the 80s cult classic still delivers plenty of action and entertainment, even if it lacks in originality and substance. Trouble is brewing at a Florida Keys roadhouse, and proprieter Frankie (Jessica Williams) is desperate for some old fashioned law and order. The local police won’t help, so Frankie seeks out ex-UFC fighter Dalton (Jake Gyllenhaal) for the job. Down on his luck, he agrees to take the well paying gig in paradise. When he arrives, Dalton discovers that he’s stepped into a criminal underworld that’s darker and more serious than anticipated. One by one, he outsmarts and out muscles the seemingly endless line of bad guys that stand in his way. The film works well because of its willingness to embrace its own over-the-top absurdity. Gyllenhaal plays Dalton with an authentic, rugged charm, taking his character seriously, but not overly so. He’s believable as a tough guy for hire who “hurts people for money,” and he lends a pedigree to an otherwise mindless piece of entertainment. Conor McGregor is a lot of fun in his supporting role as Knox a worthy adversary to Dalton. Insane and unhinged, he feels like a ripoff of the Jason Momoa character Dante in “Fast X,” minus a bit of charm and acting talent. The movie is over-the-top in a lot of ways, but the one thing that really bugged me is that early on, there’s a casual mention of a killer crocodile. This caused my mind to wander the whole movie, just waiting on the edge of my seat for Dalton to wrassle it (spoiler alert: I was so disappointed). That’s not to say the movie isn’t corny, because it is. Those little touches of humor, the charismatic lead, brawny action sequences, and nods to classic muscle movies also make it wildly entertaining. Let me put it this way: “Road House” ends with a clear set-up for a sequel that I wouldn’t necessarily be excited to see, but I’d definitely be first in line to buy a ticket. By: Louisa Moore / SCREEN ZEALOTS