Directed by: Doug Liman
Distributed by: Amazon Studios
Written by Alexander Reams
85/100
If ever there was a film to demand a second viewing before putting thought to page, one might not expect it to be Doug Liman’s remake of the 1989 classic film “Road House.” This writer definitely didn’t expect it, however, there is something beautiful underneath all of the over-the-top acting and fight sequences with camera work that feels new with each cut intentional, almost like a Michael Bay film. Bay’s most recent film starred Jake Gyllenhaal delivering a performance at an emotional 10 for 136 minutes, and it worked well. Liman clearly took inspiration and brought in the actor to lead his version of the remake. Liman’s Dalton is a former UFC fighter who left the octagon after killing his opponent in a fight. The introduction to Doug Liman’s surprisingly fantastic “Road House” treats its leading man like Saitama from “One-Punch Man,” and Gyllenhaal commits to the bit all the way through taking a knife out from his chest in front of his future employer, Frankie (Jessica Williams).
Frankie needs help managing her bar, The Roadhouse, and she goes to a fight with the intention of hiring Carter (Post Malone), but her attention shifts to Dalton after he scares off Carter. After attempting suicide, with a great line delivery of “Maybe not.” Gyllenhaal’s Dalton approaches fighting with the attitude of Bugs Bunny dealing with pests, he’s calm and cordial, asks if they have insurance, and even takes his opponents to the hospital after beating the hell out of them.
The film, despite being a film clearly shot digitally (much more on this later), feels very old-fashioned. It’s understandable why Liman went on such a tirade to get this film in theaters, but its release to streaming means that more people will have access to it, and it takes much less effort to sit down at home to watch Jake Gyllenhaal kick ass for two hours than going out to the theater. Liman establishes a moral compass for Dalton as soon as he steps foot off the bus by way of Charlie (Hannah Lanier), the co-owner of a bookshop with her father, Stephen (Kevin Carroll). She gets Dalton to open up and care about the community, and it’s definitely a trope that Liman and co. lean into, and it’s not the only one. Of course, if the bar is having problems, then someone must be the cause of them, in this its Ben Brandt (Billy Magnussen), a spoiled rich kid whose family has deep ties to the community, however, his father is in jail and Ben is not up to the task. This brings in the presence of Conor McGregor playing another version of Conor McGregor, here called Knox. He almost literally flies onto the screen in a bright yellow sports car down the roads of Florida Keys and it is electric to watch. Liman employs drones the same way Bay did for “Ambulance,” and he’s the only one who’s used them as well as he has since.
Liman shot on the RED Komodo and V-Raptor, both cameras that Cinematographer Henry Braham is familiar with and he uses them in very similar ways to before. Lots of close-ups, handheld shots, and frenetic movements that are seamless. He’s careful to always keep the action and subject clearly in the frame. Braham shines in the final act during the fight sequence between Knox and Dalton which has great stunt work from the entire crew, but also Braham’s camera movements are intentional, and the usage of wide-angle lenses allows him to get closer to both McGregor and Gyllenhaal throughout the fight. He also lights the scene in a way that doesn’t show any of the uncanny valley issues that so many projects have encountered lately. “Road House” is one of the first surprises of 2024 and it’s great to write the words that Doug Liman has made a great film again.
“Road House” Trailer
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