Regie:
Rowdy HerringtonKamera:
Dean CundeyMusik:
Michael KamenBesetzung:
Patrick Swayze, Kelly Lynch, Sam Elliott, Ben Gazzara, Marshall R. Teague, Kevin Tighe, John Doe, Kathleen Wilhoite, Gary Hudson, Anthony De Longis (mehr)Inhalte(1)
Patrick Swayze spielt in “Road House” den Rausschmeißer Dalton, den der Chef des “Double Deuce” angeheuert hat, damit er als Verantwortlicher ein Auge auf die anderen Rausschmeißer der Bar hat. Doch die Probleme in dieser Bar sind größer als in gewöhnlichen Lokalen, denn hier halten sich regelmäßig auch echte Vebrecher auf – die aber trotzdem kein Problem für Dalton sein sollten. (Verleiher-Text)
(mehr)Kritiken (4)
Die Figur des charismatischen harten Kerls und Kämpfers für das Gute passt zu Patrick Swayze, der Film ist dank seiner Figur sofort fesselnd. Und die Einfachheit der Handlung ist nur von Vorteil – hochwertige Filme zum Entspannen aus den 80er Jahren erfreuen immer mit ihrer aufrichtigen Geradlinigkeit. Ebenso bringt der Kämpfer Sam Elliott Charisma in den Film, der gegen die Schufte kämpft. Ben Gazzara als Hauptmafioso erinnert daran, dass der schlimmste Filmschurke immer am besten mit dem Gesicht eines gutmütigen Onkels funktioniert hat. Ein reichhaltiger Film voller Schurkenbekämpfung und männlicher Schlägereien, deutlich würdiger als dumme B-Movies mit Chuck Norris. Schade, dass der Höhepunkt naiv ist und dass er mit den Karate-Motiven wie ein Film von Van Damme und Co. aussieht. Er hätte es nicht gebraucht.
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It is hard to believe that humanity has made such a huge leap forward, not only in terms of technology but also fundamentally in the field of cinematography in these roughly 25 years. No matter how you look at this accomplishment, you will always laugh and shake your head in disbelief. It is not a comedy, it is not a proper action movie, you do not understand the motivations of the characters, and neither do you understand the actions of the protagonists. It is not even a cool, crazy action film that would not worry about image and dramaturgy. It is an incredible mess with a few decent action scenes. Let's move away from that. Only out of nostalgia – Patrick Swayze was in great shape here.
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Exactly what I would expect from an action B-movie from the late '80s: shots of luxury cars, beautiful women, plenty of action, and Patrick Swayze in the lead role. Believe it or not, it works. Even better than the new version with Gyllenhaal. I really grew to like the character of Dalton here. Add to that the wisecracking sidekick Sam Elliott (it’s a shame he didn’t get more screen time) and some really well-shot action scenes, and you have a solid one-off from that historical era. Just don’t expect any added value. You’ll search in vain for that. I give it 6/10.
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A superb caricature of 1980's guy movies with five Golden Raspberry nominations, it often tops the best guilty pleasure film lists. Road House is essentially a kind of modern macho western with kung fu action, combining Western culture with Eastern philosophy and containing so many memorably absurd moments that it's impossible to be bored for a moment. Patrick Swayze plays a world-famous bar bouncer and Zen warrior with a PhD in philosophy whose life's work includes philosophizing, making out, smoking, practicing Tai Chi, and, for that matter, kicking ass and ripping bites out of necks. Swayze's character is tasked with bringing order not only to one wild bar, but to an entire town that is controlled by a gang of local rich guys. With a stoic expression, he at first tries to resist the unnecessary violence, but in a world dominated by testosterone and toxic masculinity, that can't last long. Road House is entertaining for its simple black and white, maddening stupidity and complete disconnect from reality. It's set in a world where characters beat each other up, blow up their houses without the police ever showing up, and where drunks smash up an entire bar every night that's as good as new the next day. The local hangout, where bands have to play behind an iron fence to avoid being hit by flying shards and pieces of furniture, must have been the inspiration for the vampire hangout Titty Twister in Rodriguez's From Dusk Till Dawn (both films, incidentally, feature the band Tito & Tarantula). As in every 1980s actioner, there is the mandatory batch of unwanted homoerotic undertones. Swayze doesn't waste a single opportunity to take his shirt off, while his fully-clothed adversaries never take their eyes off him. The film is reportedly shown to New York police officers as part of their training, apparently because of the main character's moral code of even if someone calls you a dick, be nice.
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