Gen-X Jim Presents: Does “Road House” (2024) suck?

By JIM CLAYTON/Staff Writer

First of all, I am shockingly Gen-X. I am a rolled jeans, Converse hi-tops, business in the front, party in the back member of the “Why Bother” generation. I could ignore a tornado in the front yard should I choose to, and my patience with modern entertainment is endless, mostly because I just don’t care.

I MOSTLY don’t care.

The exception to my entertainment ignobility and general crabbiness lies with the concept of a “remake.”

As a rule, Gen-X’ers are fiercely protective of the music, movies, and books of our youth. Every time some Hollywood production company runs out of original ideas, they seem to take one of our treasured forms of Gen-X escapism, put a CGI or autotuned spin on it, and regurgitate it upon the masses. Without fail, it makes my left eye begins to twitch.

Disney took Star Wars, for crying out loud!

This is the mindset with which I approached the 2024 remake of the 1989 Patrick Swayze classic, “Road House.” Swayze’s movie was full of memorable characters, iconic performances, and raw action. Sure, we had to look past the fact that Sam Elliott’s 50-something character could beat up a wrestling giant like Terry Funk. And yeah, we suspended our disbelief when 170-pound Patrick Swayze, using dancer moves and movie martial arts, cleared out a bar of hooligans. But, it was schlocky, sweaty, beer-swilling, ’80s action at its best, and I didn’t want Hollywood to screw it all up.

I didn’t hold a lot of faith in the industry’s ability to not defile another example of cinematic greatness from the little decade that could. Was Jake Gyllenhaal capable of stepping into the shoes of the legendary Swayze and breathing new life into the story of Dalton, the enigmatic bouncer with a code of honor?

Turns out, he could.

Let me start by saying that the new “Road House” does an admirable job of capturing the essence of the original while adding its own bit of flavor. Gyllenhaal brings a certain charm to the role of Dalton. He is passive, almost casual, in his portrayal. He seems to always be hiding a smile, like there’s a joke that only he is in on.  There isn’t a lot of resemblance to Swayze’s stoic charm, but when Gyllenhaal’s “Dalton” does ramp up the action, it comes with a much darker edge that was never really believable in Swayze’s version.  While feeling new, his take on the role pays homage to the character’s past.

Gyllenhaal’s Dalton is a flawed hero who struggles with his history and seeks to do the right thing in a bar town gone mad. His chemistry with co-stars lends the story layers of emotional depth and a compelling, realistic feel to the relationships.

One of the genuine surprises about the reboot is the supporting cast of characters. Gone are characters like Sam Elliott’s “Wade Garrett” and Kathleen Wilhoite’s “Carrie.” In their place are a motley crew of known and unknown actors, like Arturo Castro, who served as the comically bad, bad guy, and Post Malone doing a cameo in a sleazy mixed martial arts (MMA) octagon.

Without a doubt, the best of the supporting cast is a pleasant surprise. The role of antagonist is shifted from the original’s “Brad Wesley,” and fed to “Knox,” played by none other than MMA superstar Conor McGregor. McGregor chews every scene like it’s a buffet steak. He is funny, intimidating, and charming all at the same time. I suppose it shouldn’t be a surprise. When he fought in the UFC, “The Notorious” Conor McGregor was a walking, talking cartoon character. He would appear on screen, and little else could compete with his presence. He brings that energy to “Road House,” but turns it up to 10. He is the best thing about the remake.

I only have one big grievance with the new version. In the original, the music was provided primarily by the late, great Jeff Healey. It was a driving part of the movie, giving every bar scene a pulsing, live music atmosphere; practically a character in and of itself.

The new film tries to emulate that with a revolving door of live music and recognizable performers, but it never quite finds its footing from a musical standpoint. It isn’t bad, but it isn’t a character.

Known for his work on the “John Wick” series, director David Leitch adds his particular flair to the fight scenes, delivering bone-crunching stunts and heart-pounding choreography that equal, even surpass, the infamous bar fights from the original film. Every battle feels visceral and painful from the first encounter.

So.

Is the new “Road House” better than the original?  No. No, it is not.

“Road House” (1989) is a timeless classic. Swayze’s magnetic presence and the film’s quotable dialogue is etched into the annals of cinematic history. The 2024 remake pays proper respect to its predecessor in subtle ways, such as the “Be nice” philosophy espoused by both versions of Dalton, the restaurant named “The Double Deuce,” and the classic quote, “Nobody ever wins a fight.”

Because of this, “Road House” (2024) feels like a love letter to fans of the film. And while some may argue that remakes can never capture the magic of the original, I believe that this new version comes pretty close — or at least it has its moments.

So, grab a cold beer, settle into your favorite bar stool, and prepare to be entertained by the Prime+ “Road House” of a new generation.

…But the original still stands as the best film.