Prime Time: Road House (2024)

I was looking forward to Road House since I saw the first trailer for it, a trailer that showcased just how much time star Jake Gyllenhaal had been putting in at the gym. Yes, the original film is a beloved bit of cheese, but it’s no untouchable classic. Let’s not forget that it already has a sequel that very few people care for.

Gyllenhaal plays Dalton, a legendary figure who is hired by Frankie (Jessica Williams) to help sort out the trouble she has been having in her Florida bar. Dalton rolls in to Glass Key (the name of the area, and one of many fun little nods to other films) and starts cleaning house, but it isn’t long until he realised that there’s something more going on. Frankie’s bar is being targeted by thugs who work for a rich douchebag (Ben Brandt, played by Billy Magnussen). And if his thugs keep failing to achieve the desired result then it will soon be time for the much more dangerous Knox (Conor McGregor) to swagger in and start smashing everything up. A storm is brewing, but that doesn’t stop Dalton from making time to enjoy the company of a local doctor, Ellie (Daniela Melchior).

There are things to pick at here, and plenty of things that viewers may dislike, particularly when it comes to the way of staging and shooting some of the fight scenes, but I cannot think of any way this could have been a better remake/reworking of the original film. The tone is similarly fun, punctuated with brutal violence (of course), the lead character is always looking to defuse any situation before things get physical, and the plotting manages to replicate what we’ve seen before without feeling like a carbon copy.

Well done to relatively new writers Anthony Bagarozzi and Charles Mondry for crafting a script that changes enough to modernize the idea while also remaining respectful and admiring of the original film. The central concept may be nonsense, and our lead spends a lot of time smirking at people who don’t realise what is about to happen to them, but at no point are viewers made to think they are watching something outright laughable. Everyone is kept safe alongside a confident main character, but the danger keeps piling up around them, and his own darkness is something he doesn’t want to tap into.

Director Doug Liman handles the whole thing quite well. Aside from some computer trickery that doesn’t always work in the fight scenes, and a frustrating handful of night-time moments that don’t seem to be lit as well as they should, it’s generally slick entertainment, helped massively by Gyllenhaal being so committed to his role.

That commitment can be shown in every defined muscle, with the actor displaying a physique normally shown in anatomy textbooks that display the musculature of the human body. It is a hell of a look, and Gyllenhaal backs it up with a physicality and personality that I am sure Swayze would have liked to see. It’s a winning performance, and the best thing in the film. Magnussen is a lot of fun as the villain who doesn’t like to get his own hands dirty, the kind of person you know is failing as his hair becomes more messed up in the middle of some unfolding carnage, and McGregor . . . hmmmmm, I think he is good at doing what he is asked to do. It’s definitely a difficult performance to recommend though, as he is asked to be the kind of cocky and careless menace who is unleashed in the second half of the movie like an angry Rottweiler that has been flicked in the testicles and then let off the chain. Melchior is fine in the least interesting role, and the role that feels most like the writers tried a bit too hard to keep a template from the original film, Williams is good, if a bit underused, and there are decent supporting turns from Lukas Gage, Joaquim de Almeida, Hannah Love Lanier, Darren Barnet, JD Pardo, Arturo Castro (scene-stealing and hilarious), and even a cameoing Post Malone at the very start of the film.

I never thought this was going to surpass, or even equal, the first film, but it’s not as if everyone here got together to remake Citizen Kane. A little perspective is a good thing. I love Road House, but that is just as much to do with nostalgia and the unbeatable power of Sam Elliott’s beard as it is to do with the film itself. This remake lacks both of those ingredients, and also lacks a decent selection of soundtrack choices, but I still had a lot of fun with it. I think people should give it a chance, and I think it will be judged less harshly by viewers who can separate the concept from their sentimental attachment to the original film.

7/10

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Fantastic Beasts: The Secrets Of Dumbledore (2022)

Okay, this is a bit better than the last movie in this dire series (yes, I'd love to just not watch them, but I feel compelled to remain a movie completist whenever possible), but that's a very low bar to surpass. Every attempt to wring more money from this world of magic just seems to dilute what made the original stories so great in the first place. The magic no longer feels impressive, it's tiresome. The same goes for the many characters and creatures onscreen. And the plot feels even more like tiresome padding than some very famous prequels I could mention. It doesn't help that Eddie Redmayne plays the main character, Newt Scamander, as if he is trying to hold in a bout of explosive diarrhea. He also has no warmth or charisma, I'm sorry to say, making him the least likeable person in a movie series that is supposed to have him at the front and centre.

The plot is more of the same. Gellert Grindelwald (this time played by Mads Mikkelsen) is making his move to reach a position of great power and start a war between the wizarding world and the muggles. Albus Dumbledore (Jude Law) has assembled a group of people to help throw a spanner in the works. He cannot act himself, mainly due to a blood pact (aka blood troth) the two men made, Dumbledore having acted a bit unwisely because he was in love with Grindelwald. And so it falls to Newt, his brother, Theseus (Callum Turner), 'Lally' Hicks (Jessica Williams), Bunty Broadacre (Newt's assistant, played by Victoria Yeates), Yusuf Kama (William Nadylam), and the brave and loyal, but dragged into the whole situation against his will, Jacob Kowalski (Dan Fogler) to hopefully put a stop to Grindelwald's scheme. Alongside him, Grindelwald is helped by Queenie Goldstein (Alison Sudol), Credence Barebone (Ezra Miller), and Vinda Rosier (Poppy Corby Tuech), as well as a number of others.

Director David Yates just cannot do enough to bring this series back on track, although he tries his best with the material he's given, written by J. K. Rowling, with Steve Kloves also helping to adapt the storyline into screenplay form. There are certainly some more highlights here than we got in the last film, including a suitcase-utilising, magical, equivalent of "the shell game", a foiled assassination attempt, and even the main plot strand showing Grindelwald putting things and people in place to apparently assure his rise to power. But the stuff that doesn't work feels so much worse because it all feels like padding, and because viewers are saddled with a blockbuster lead character who is possibly the very worst blockbuster lead character in modern cinema. It doesn't help that these films never feel as if they can ever end in a satisfying manner, always just being one chapter in a story that some would prefer was all over by now.

This isn't the "let's bash Eddie Redmayne again and again" hour so I am not going to say any more about him. I think I've made my feelings clear. The rest of the cast generally do good work, especially Mikkelsen, Tuech, and Miller, who are all impressive baddies. Fogler is once again a real highlight, especially when thrown into the middle of magical sequences that have him bravely looking to face off against people who could make him vanish with the flick of a wand, and having him paired up with Williams for what turns out to be the best scene in the film is a great move, especially with Williams also doing such great work. Everyone else is fine, although I do wonder how people were tracking Jude Law's accent, especially as he moves from sounding British to sounding American, and then to sounding like he's just departed from a job gigging with The Wurzels.

What else is there to say? Nothing, not really. The score is enjoyable enough, and full of familiar refrains, the action has plenty of fireworks in almost every scene, there's still not enough balance between the serious tone and the presentation of the material as family entertainment, but it's such a step up from the last instalment that I ended up pleasantly surprised. I won't revisit it, and am not keen to revisit any of these films, but I was actually entertained while it was on. Which is more than I can say about the previous film.

6/10

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Mubi Monday: Booksmart (2019)

Booksmart is a fun film, full of energy, that easily sits alongside a number of other teen comedies from the past few decades. Unlike many of those, it was directed and written by women, and also features two wonderful female lead characters (played by Beanie Feldstein and Kaitlyn Dever).

The set-up is quite simple. Molly (Feldstein) and Amy (Dever) have made a number of sacrifices as they aim to get the grades required for their favoured colleges. But Molly hears a number of people talking about their future plans, which leads her to the realisation that a lot of people had the same aim, they just managed to maintain a better life-work balance throughout high school. Determined to use their last night to make up for years of missing out, Molly and Amy set out to find the location of the hottest party being attended by everyone else in their school year. And so begins a night that will see the young women test their limits, test some drugs, and test their friendship.

Although very much female-centric, Booksmart works brilliantly because it is very much focused on the teen experience, the years spent under intense pressure to please so many people (peers, parents, teachers) before you learn that it's best to just please yourself. Molly and Amy start the movie thinking that they have to live their lives a certain way, which becomes less and less true as they become more comfortable just being themselves.

The script, written by Emily Halpern, Sarah Haskins, Susanna Fogel, and Katie Silberman, is arguably the best work that any of them have done. It's smart, full of scenes that have an honesty at the heart of them, and very funny. And one sequence involving a pair of Barbie dolls is hilariously surreal in a way that recalls the anarchic silliness of Better Off Dead... (an '80s teen movie that remains woefully underseen).

Olivia Wilde does a great job in her feature directorial debut. She has a number of shorts to her credit, and has obviously been able to observe the film-making process during her many acting jobs, but this is an accomplished and assured first feature, undoubtedly helped by her industry connections (it's hard to imagine the likes of her partner, Jason Sudeikis, or Will Forte and Lisa Kudrow taking on supporting roles otherwise, although you could also argue that a good enough script would have won them over).

Feldstein and Dever are great in their roles, with the former bringing more of the energy into most scenes while the latter is having a more difficult time adjusting to a new level of social interaction and self-identity. Molly Gordon does great work in her small role, Skyler Gisondo and Billie Lourd are wonderfully over the top as two rich kids who find it easy to buy company, but not so easy to make real friends, and Diana Silvers has a couple of very funny scenes as a partygoer who ends up seeing Dever in a more vulnerable state than either would have wanted, and Jessica Williams gets to play a supercool teacher who is rooting for our leads throughout.

Although this is typically rambunctious stuff on the surface, Booksmart excels, like all of the best teen movies, because there's a lot more to it. And a large part of it is truth. As silly as many moments seem, it also nails the maelstrom of feelings that can rush through any teenager's mind every time a major decision has to be made. That decision could be about higher education, or it could about what to wear to a party. It could be about love or lust, or it could be about how far you go to support a friend. Every one is just as important as the other. Well, that is how it feels at the time. Booksmart nails that feeling, and more.

9/10

The movie will be available here.
Americans can get it here.