When the trailer for the 2024 remake of Rowdy Hereington’s “Road House” (1989) dropped in January, viewers got a glimpse of a chiseled Jake Gyllenhaal fighting bad guys in a roadhouse on the Florida Keys. A few fast-paced action sequences, intense stunts, and the taste of a rocking soundtrack are also combined to bring a sense of bubbling anticipation for the film’s release.
While all the elements of an engaging watch were present, the Prime Video release of “Road House” on March 21 was all but spectacular. Not even the signature charm of Gyllenhaal could save this film from being an unfortunate disappointment.
Viewers are filled with disillusion as soon as the film begins in its introductory fight scene. Post Malone stars as one of the two unnamed wrestlers in this introduction, but his cameo gets overshadowed by the flimsy CGI of his character’s punches.
Using a cartoonish effect so early on sets an unrealistic atmosphere for the film. At times, this element works well. However, “Road House” fails to maintain a continuous balance between realism and unseriousness.
Luckily, Gyllenhaal’s performance throughout the 121-minute film is as consistent as it can get. He stars as Elwood Dalton, a former UFC middleweight fighter engaged in the underground circle. After running into the determined Frankie (Jessica Williams), Dalton takes up a job as a bouncer at her roadhouse in the Florida Keys. He quickly becomes wrapped up in the locale’s shady culture but becomes a driving force in dismantling the sinister plot to steal the roadhouse from Frankie’s ownership.
Gyllenhaal’s acting capability is fully captured in his portrayal of Dalton. He is a physically daunting individual who is avoided by many characters in the film. What sets Dalton apart from typical intimating characters, however, is his nonchalant demeanor. He’s the only fighter I have seen in a film like this who would slap the villains into potential oblivion before offering them a drive to the local hospital to recover.
“Road House” toys with this idea in a cheeky way, often playing up Dalton’s personality to comedic effect. It’s what makes the film have an intense edge, especially when Dalton’s true colors emerge near the film’s climax.
The supporting characters within “Road House” are less complex and underdeveloped. Williams brings a relatability to her role as a business owner who possesses a generational tie to “The Road House.” However, the weak script does not explore this reveal beyond a simple line exchanged between Frankie and Dalton. Hannah Lanier brings a fun spice to her supportive character of Charlie, a teenage bookstore worker who suffers a similar underdeveloped fate to Frankie.
Ellie (Daniela Melchior), the sole love interest in the film, meets Dalton after he visits the local hospital after stopping a potential bar fight. Her character embodies the stereotypical presence of the action star’s lover, although her unlayered personality traits are treated more like twists than simple revelations.
The film’s biggest characterization issues come from its two villains, Ben Brandt (Billy Magnussen) and Knox (Conor McGregor). Ben is the typical rich kid antagonist: a daddy’s boy obsessed with money. Magnussen does his best to make him as revolting as possible.
Conversely, Knox is what one would expect to receive when seeing McGregor’s name on a call sheet. He’s boisterous, a tough opponent, and full of energy. While his character’s intensity felt more obnoxious than fun, many viewers would seemingly find his chaotic venture through the streets fully nude completely hilarious.
The plot of “Road House” unravels as one would expect. Outside of one shocking moment involving an alligator and the open water, there is nothing to write home about.
However, a few good moments round out the film’s upsides. The music of bands playing at “The Road House” created a connected atmosphere within the film. Each song falls in line with the cultural setting of the Florida Keys. Clever camera movement from the eye of director Doug Liman and quick eating during the film’s first half keep viewers engaged in the narrative.
In the end, “Road House” is just violence over substance and lacks any emotional punch. While there is an engaging fight film to be uncovered, you’ll have to sit through its long rumble before any semblance of fun can be felt in this disjointed film.
Rating: 1/5
