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The first scene the two shot together is seen in the trailer when Knox headbutts Dalton at the bar. Swayze, 57, died in 2009 after battling pancreatic cancer, and the new film includes a dedication to the “Dirty Dancing” star, “whose legacy of strength and greatness reminds us all to BE NICE.” Gyllenhaal says his character also has tattoos honoring the first Dalton. As Frankie and Stephen begin to rebuild, Charlie says goodbye to Dalton as he waits for his bus out of town. Stephen discovers Dalton has left them the trunk of cash as the bus pulls away.
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It’s a surreal thing to visit that movie again, bringing the generally hideous 1980s mainstream cinematic experience back with a rush. And then there’s Conor McGregor as Knox, a sociopath who launches like he was shot out of a cannon into the back half of the movie to finish the job with Dalton. Knox brings a spark to a movie that's getting dry, but McGregor’s performance is equally fascinating and baffling, delivered almost entirely through a massive grin like he’s doing a bit at a weigh-in before a match. 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.
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When ex-UFC fighter Dalton (Jake Gyllenhaal) is offered a job as head bouncer at the ROAD HOUSE, he has his work cut out ridding the bar of a violent gang who routinely come in and cause trouble. As Dalton sets about restoring order, he discovers that there might be more to these attacks than first appears. “Part of what makes this really fun to watch is that it doesn't take itself seriously, really at all, and it always lilts on the edge of, like, absurd,” says Jake Gyllenhaal, who leads the action-packed reimagining of the 1989 movie.
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In such instances, the author has “a five year period commencing 35 years after the date the rights were transferred” to terminate the copyright held by the studio, Hill’s suit said. U.S. copyright law allows for authors to recapture the rights to their material that was transferred after 1977. The original movie was directed by Rowdy Herrington and produced by Joel Silver, who has a producer credit on the 2024 remake. However, a person close to the studio, who was not authorized to speak publicly, suggested that, if AI was used during production, it was only during early cuts of the film. Studio executives instructed the filmmakers to remove any AI or nonunion performers from the final cut, this person said. The movie was completed in January — about two months after the copyright deadline, the suit claims.
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Even at the very end, there’s an inventive finale to the last fight scene that I can’t describe because it’s too much of a spoiler, but it’s startlingly well done. Turns out I only got the answer at the end — it’s a movie directed by Doug Liman, an erratic talent who nevertheless has given action fans two genuinely great examples of the genre, The Bourne Identity (2002) and Edge of Tomorrow (2014). No idea how I managed to miss that crucial piece of information ahead of viewing. When we find Dalton in this version, he’s living his worst life as a kind of scammer on the underground fighting circuit, showing up in an anonymous hoodie as an apparent nobody challenging the current hotshot taking on all comers. As soon as he removes the hood, he’s recognized as the Dalton, slumming, and the hotshot refuses to fight, thus reversing the betting in a way that benefits the house. He skims off a bit of the profits and goes on laying low in a dreary self-hating way, living in his car.
Why Road House (2024) Is Darker and Better Than the Original - MovieWeb
Why Road House ( Is Darker and Better Than the Original.
Posted: Thu, 04 Apr 2024 07:00:00 GMT [source]
But it’s a very useful one, making it clear to the meanest intelligence that the protagonist will get pushed too far eventually, and there will be the fight to end all fights at the end. If by some chance you never saw it, it’s about a “top cooler” played by Patrick Swayze who’s hired to clean up a honky-tonk in Jasper, Missouri, that’s been overrun by the bad element in a corrupt town. In the 1980s, due to the pernicious influence of Tom Cruise’s megahit, Top Gun, every action film protagonist had to be a top something, practically famous the world over. In the new iteration, bar owner Frankie (Jessica Williams) recruits former UFC fighter Elwood Dalton (Gyllenhaal) for security at her disorderly joint in the Florida Keys – labeled simply Road House – which is being eyed by Ben Brandt (Billy Magnussen) for a luxury resort. Real-life UFC champ Conor McGregor makes his movie debut as unhinged hitman Knox, who hopes to take out Dalton. The 35-year-old fighter makes a cheeky entrance, baring his nude backside.
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But whenever “Road House” has to go “extended fight sequence,” you can see ALL the strings. Of course, “Road House” isn’t just about a bouncer at a bar in the Florida Keys. It turns out there’s a lot more to the violence in Frankie’s bar than the local drunks. A real estate power player named Ben Brandt (Billy Magnussen), who inherited an empire from a criminal father, is trying to get Frankie to shut the operation down. Dalton comes in and takes care of Ben’s lackies in a series of scenes that are pretty well-choreographed and conceived. They also set Dalton’s character as the kind of guy who drives his enemies to the hospital after he beats them up.
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"There's people that burn a fire and little fire pits, maybe something caught on fire, but not an entire house," said neighbor Logan Lambert. A neighbor shared security video of the scene which showed the explosion and fire. In 2022, the Division of Water Resources at the Knoxville Environmental Field Office prepared a hydrologic features report for the company regarding the property. The earliest Google Maps Street View image of the house is from September 2007, and shows a white van and a small box truck parked outside. Due to blur, it's not clear if the house had begun to deteriorate by then.
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But that’s the weird thing — Jake Gyllenhaal turns out to be a not-bad substitute at the same game. His high Howdy Doody voice and weird Muppet smile and big, blank-eyed, mild-mannered air conveys well the singular effect of a walking lethal weapon who wants above all not to fight. Some movies that were major releases then were so literally ugly, so incompetently made, so grotesquely stupid, so ideologically heinous, they become things of sordid wonder and hilarity when seen afresh.
So in crafting the character, Gage was interested in exploring the Cat King’s rage as well as his narcissism. Based on the comic book characters created by Neil Gaiman and Matt Wagner, “Dead Boy Detectives,” now streaming on Netflix, follows Edwin (George Rexstrew) and Charles (Jayden Revri), the show’s solvers of supernatural mysteries. On Friday, police announced that speed may have played a factor in the deadly accident. Friends of the family stopped by the crash site on Foothill Road in Pleasanton Thursday to mourn the loss. The expected vote is the total number of votes that are expected in a given race once all votes are counted. This number is an estimate and is based on several different factors, including information on the number of votes cast early as well as information provided to our vote reporters on Election Day from county election officials.
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.
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. 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. Through it all, Jake Gyllenhaal delivers a fun performance that goes from charming to menacing, but even that gets lost in the chaos of a movie that needed to be sweaty, grounded, and urgent to work but becomes more and more like something you’d watch on Saturday morning.
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