Elwood Dalton, a troubled former UFC middleweight fighter, earns a living by using his fearsome reputation in the world of underground fights, following a traumatic event in the ring some time ago, for which he still cannot come to terms. One evening, he is approached by Frankie, the owner of a club in the Florida Keys community, who offers him a job as a head bouncer. Initially hesitant, Dalton accepts the offer. Upon his arrival in the small beach community, he befriends Charlie, a girl who runs a bookstore with her father, and quickly becomes popular in the area. Under his guidance, the bar, where violent fights often took place, flourishes. However, the ambitions of a powerful local boss threaten to undermine his work. Elwood finds himself facing a powerful enemy, who has also hired a hitman in an attempt to eliminate him.
ROAD HOUSE: HOME STRETCH, THE REVIEW
Thirty-five years after the original film starring the late Patrick Swayze, a remake that has been long announced but repeatedly postponed for various reasons finally arrives. This time, Jake Gyllenhaal takes on the role of Dalton, seemingly becoming accustomed to muscular roles, with his sculpted physique always on display in this story that, while it may have been suitable in the 1980s, now seems outdated, not only in terms of production but also in terms of substance.
The tough guy from “Road House” (1989) is remembered as a cult classic by those who grew up in that era and carried with them that unique atmosphere typical of that iconic decade. The same cannot be said of this updated version, which unintentionally veers into caricature, starting from the choice of the nemesis that the tormented main character must face. In the fight scenes, we find the well-known MMA champion Conor McGregor providing a challenge to the protagonist, a character who comes across as exaggerated and unhinged, adding to the overall whimsical tone of the film.
FISTICUFFS OR FLOPS?
Unfortunately, the potential for fun is often hindered in its action sequences, with bare-handed fights that seem staged and blows that fail to connect with the audience. Digital assistance is used to force physical contact in an often unrealistic manner, effectively nullifying the choreographic essence of the whole. Director Doug Liman, known for works like “The Bourne Identity” (2002) and “The Edge of Tomorrow” (2014), fails to strike the right balance with this mix of violence and pseudo-demented humor, falling short in comparison to the original, which, while not perfect, has remained firmly in the hearts and minds of the general public.
FINAL THOUGHTS
A fake and overly light remake, unable to update the original for the new millennium and constantly indecisive in the tone it adopts, with cardboard characters engaging in an exotic setting that screams ’80s. But the sun and the sea do not illuminate the new “Road House,” with Jake Gyllenhaal trying to step out of the shadow of the late Patrick Swayze by flaunting sculpted pectorals and little else, finding a formidable opponent in an unlikely Conor McGregor, who seems to merge with his mad character. An overly long entertainment, two hours that feel excessive, in which the action sequences themselves appear fake and uninspiring, in total dissonance with the enjoyable chaos of the original.