1 of 5 | Dalton (Jake Gyllenhaal, R) shows Billy (Lukas Gage) how to disarm a rowdy customer. Photo courtesy of Prime Video
LOS ANGELES, March 18 (UPI) — It took several years before 1989’s Road House was considered an action classic. The remake, on Prime Video on Thursday, recaptures the fun of the original for modern audiences.
Frankie (Jessica Williams) hires underground fighter Dalton (Jake Gyllenhaal) to be a bouncer at her Glass Key, Fla. bar, The Road House. Developer Ben Brandt (Billy Magnussen) keeps sending thugs to make trouble to force Frankie to leave.
The philosophy of Patrick Swayze’s Dalton in the original was “be nice.” This Dalton captures that in every fight scene by further developing the psychology of how Dalton tries to de-escalate violent situations — until he can’t avoid them.
Dalton threatens a gang’s motorcycles to lure members outside the bar, and then asks if they have health insurance and where the nearest hospital is. Dalton is being sincere because he wants to be sure they’re taken care of when he does what he has to do.
Of course, Road House is an action movie, so every punk proceeds to fight Dalton. That’s probably accurate to real-life brawlers, whose pride will never let them stand down.
Dalton even begins with open-handed slaps before he transitions to mixed martial arts moves. He keeps his composure when someone stabs him, still giving the attacker the chance to walk away before it escalates further.
Gyllenhall’s affable demeanor adds new energy to the cinema staple of bar fights. This is also complemented when Brandt’s father calls in Knox (Conor McGregor) to eliminate Dalton.
Knox is a violent muscle beast, but he’s also full of smiles and having a great time making trouble.
Brandt is the kind of smarmy villain who makes you enjoy his comeuppance. Besides what he’s doing to The Road House, the way he treats his own men is magnificently egregious.
Brandt makes his barber give him a shave on a boat in choppy waters, so he can get mad every time he gets cut. This is a guy who needs to go down.
The new Dalton is a former MMA fighter, and although the film waits to fully reveal his past, it won’t be hard to figure out why he left the ring. The film pays off Dalton’s dark past and doesn’t cop out on his violent nature.
Dalton wants to avoid further violence, but these bad guys force his hand, like they always do to John Wick or Rambo. If they just left him alone, they’d have no problem, or at least no additional problems on top of Frankie not selling The Road House.
The action is not over-edited. The camera is part of the fights, following characters back and forth, which also continues in dialogue scenes. In that regard, director Doug Liman elevates the more straightforward action of the 1989 film.
Most of the action looks real as it’s either the leads or their stuntmen performing choreography. A computer-generated pickup truck stunt is glaringly fake by comparison, although a crocodile looks better. Some boat stunts look like real boats crashing and exploding on the water.
The local doctor, Ellie (Daniela Melchior), is a much milder love interest than Kelly Lynch in the original. That’s because the screenplay downplays the romance and eliminates any sexual tension before the actors even have a chance to play it.
So, the modern Road House trades a little steam for more sweat and rowdy fun. It’s still an outrageous good time.
Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.
AI is a constant in today’s cinematic landscape. It was a big point of contention during both strikes that affected Hollywood in 2023, was brought up during the Academy Awards, and is even leading to backlash for one of 2024’s best received films. No matter what your opinion on the subject, it is a topic that is not going away anytime soon.
Terror in the Ailien Realms: Transdimensional Horror Movie Posters & Their Film Reviews is a book by filmmaker and artist Pat Tremblay that combines art and AI. Fueled by his love of the great VHS box art from the days when video rental stores were an essential part of life, Tremblay has created a series of horror movies posters. This is not just a simple homage to days of horror movies past, however. Each poster was created with the assistance of AI.
The idea will immediately turn many potential readers off. AI is a touchy subject that seems to be met with resistance more than understanding. Tremblay – an artist himself – has written about why people should be more understanding even when they are not completely receptive to the idea of AI art. This includes the idea that AI is not stealing or plagiarizing artists but using them for reference or inspiration, its similarities to pop art, and just the natural aversion people have to change.
It will take years and many examples before most of us will be able to have a fully developed opinion regarding AI art. Terror in the Ailien Realms is a great introduction into what can be done, however. Quite simply, the posters found in the book are simply amazing. Those who spent hours of their childhoods in the horror section at video stores will be amazed by what they see. From horror westerns to grindhouse to just straight up scary stuff, Tremlay’s project has it all.
Terror in the Ailien Realms is not just limited to those who have nostalgia. Many of the pictures are reminiscent of thumbnails seen on streaming channels. Some are outlandish while others have an arthouse quality to them. It is an interesting mix that makes each page interesting.
Adding to the fun are the fictional movie reviews that are included. Genre filmmakers, writers, and journalists participated in coming up with the write-ups. There are a bunch of neat entries and they also show what can be accomplished when AI is paired with human creativity.
But at the end of the day, it is the AI art that will garner the most attention. In a vacuum, Terror in the Ailien Realms: Transdimensional Horror Movie Posters & Their Film Reviews is an enjoyable item that genre fans should get a kick out of. On a grander scale, it provides a glimpse into the possibilities of AI art. It may not change opinions outright, but it will give people a lot to think about.
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It is often said that the primary objective of franchise films is to evoke nostalgia in the viewers. These films serve as a reminder of the time when we first met the characters, a time when we had fun and didn’t have the adult perspective to overanalyse filmmaking style. An ideal scenario in such cases, is a sequel that takes a new approach while still retaining the warmth of the original film, thereby providing you with a refreshing yet nostalgic experience. However, Ghostbusters: Frozen Empire, the latest addition to the Ghostbusters franchise, fails to deliver in terms of novelty, instead relying solely on nostalgia.
Director: Gil Kenan
Cast: Paul Rudd, Carrie Coon, Finn Wolfhard, Mckenna Grace, Kumail Nanjiani
This fifth addition to the supernatural comedy franchise takes place three years after the events of Ghostbusters: Afterlife. The Spenglers, including Egon Spengler’s daughter Callie Spengler (Carrie Coon), her boyfriend, Gary Grooberson(Paul Rudd), her children Trevor (Finn Wolfhard) and Phoebe( Mckenna Grace), and their close friends Lucky Domingo and Podcast, move to New York City to assist Winston Zeddemore (Ernie Hudson) and Ray Stantz (Dan Aykroyd ) in reestablishing the paranormal investigation group known as Ghostbusters.
“A blind man, a kid. You claim to be bounty hunters. Right?”
A surprise hit after its release on various streaming platforms, director and writer Yang’s short online wuxia film “Eye for an Eye: The Blind Swordsman” (2023) starring Xie Miao as the protagonist went on to generate a fair amount of attention both in Mainland China and overseas. Therefore it is inevitable that a sequel soon follows with both Yang and Xie returning. Though scheduled for a wilder cinema release, the much anticipated and a longer follow-up still ended up streaming on iQIYI.
This second installment kicks off in Youzhou during the Tang Dynasty. Believing that five fugitives are hiding in a gambling den, blind swordsman Cheng Xia Zi shows up to arrest them. Naturally, they try to fight their way out but of course they are no match for the lethal bounty hunter. Apparently, Cheng is trying to make as much money as possible so he can retire in Chang An, his old hometown.
Meanwhile, in another part of town, a pair of homeless orphans, Zhang Xiao Yu and her little brother Xiao Cao, are stealing food and are caught up in a confrontation between ruthless officer Li Jiu Lang and his rebels. The merciless Li kills the defenseless rebels, Zhang manages to escape but her brother is not that lucky. While on the run, she accidentally bumps into the grumpy Cheng who reluctantly shelters her. After a while, they start to bond and eventually work as a team to bring the cold-blooded Li and his little empire down.
Yang’s sequel plays like a proper wuxia film probably because of its longer running time which allows him to further develop the main lead characters and the dramatic elements. A subplot that concentrates on the orphan Zhang Xiao Yu, played by Yang En You, a traumatized little girl who is obsessed with revenge after the tragic death of her brother. The bond between her and Blind Cheng which takes on centerstage is engaging and not rushed. However, it seems like director Yang is doing a Zatoichi style adventure with a bit of Lone Wolf and Cub thrown in for good measure at times.
Visually the film looks great, especially the outdoor location of rolling hills, forests and mountain ranges. Besides, the detailed town buildings plus their interiors all look lived in and authentic. The fast and crisp fight sequences designed by action choreographers Qin Peng Fei and Du Xiao Hui are impressive, though quite brutal. Also, the fight which features a thug wielding a pair of flaming sword looks interesting and fun, but it is borrowed from Su Chao Pin and John Woo’s “Reign of Assassins” (2010). Though epic, the end fight between Cheng and three hundred guards seems too far fetched and rushed. However, Yang’s use of split screens during the film’s lighter moments is refreshing.
Actor and martial arts champion Xia Miao, born in Beijing, is no stranger to Asian action films who appears in more than thirty films and TV series. He started his film career as a child actor alongside Jet Li in “The New Legend of Shaolin” (1994) and again in “My Father is a Hero” (1995), these films gained him a reputation both overseas and locally. After that he takes a break to study and then makes a comeback in the TV series “Legend of the Shaolin Temple” (2006) and “The Kung Fu Master” (2010). Xia Miao’s portrayal of the blind bounty hunter Cheng is impressive and his moves are equally smooth and convincing during the many fight sequences.
The introduction of a second lead character, the vengeful child, Zhang Xiao Yu (Yang En You) is a nice touch. Child star Yang is impressive and shines as the orphan Zhang, as she effortlessly tackles the emotional and dramatic moments of the film. In addition, her interchange-like bickering and the playful moments with swordsman Cheng are interesting to watch and a nice distraction from the otherwise violent fight scenes, besides adding the much needed emotional connection. Furthermore, Hung Tao is adequately evil and memorable playing the cruel officer Li Jiu Lang.
Even though the storyline of “Eye for an Eye 2” is predictable and familiar, it is still impressive and satisfying production. Besides, the well written lead characters are a plus, and when topped off with the well choregraphed action and engaging visuals, it all makes for a balanced sequel.
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