‘Roadhouse’ Review: More Fizzle Than Sizzle In Liman’s Remake Of Action Classic – SXSW

Jennifer Maas TV Business Writer The Writers Guild of America (WGA) and other unions representing film and TV writers and journalists sent a letter to Congress Thursday urging protections for their industries in any legislation regarding Artificial Intelligence. Addressed to Senate Majority Leader Chuck Schumer, the letter was co-signed by the NewsGuild-CWA, Writers Guild of America East (WGAE), Writers Guild of America West (WGAW), and National Association of Broadcast Employees and Technicians (NABET-CWA).

Jake Gyllenhaal leads a remake of Patrick Swayze’s 1989 action film Road House.Directed by Doug Liman (Edge Of Tomorrow, The Bourne Identity), the 2024 version follows UFC fighter Elwood Dalton (Gyllenhaal) who takes a job as a bouncer at a Florida Keys roadhouse riddled with shady characters.Other cast members include Daniela Melchior, Conor McGregor, J.D. Pardo, Arturo Castro, Lukas Gage and Billy Magnussen.The film’s score is composed by Christophe Beck, who previously worked with Liman on Edge Of Tomorrow and American Made.

As a champion freediver, Jessea Lu describes in the early minutes of her own documentary, “7 Beats Per Minute,” the film’s title reflects the heart rate a freediver should target to ensure success during a competitive diving event. There’s no question such a sport sits as one of the world’s most dangerous, the act of holding one’s breath for a protracted length of time while engaging in any number of underwater activities.

Lise Pedersen Science is one of the central themes of leading European doc film festival CPH:DOX. Alongside the broad selection of films on offer in the CPH:SCIENCE section, the event also opens the floor to conversations on the role of science docs with key players, ranging from filmmakers and producers to commissioners and public broadcasters.

the setting of “Road House” from Missouri to the Florida Keys should go down as one of the best decisions made by a movie remake ever.The scenery is tropical, the personalities are oversize and the area inspired a song that goes, “Wasted away again.”Plus, as any skimmer of crime headlines knows, macho bar brawls are not uncommon in the boisterous Sunshine State. Really, this action-packed update of the truly ridiculous 1989 film that starred Patrick Swayze as the world’s best bouncer could almost be a documentary.

Jenelle Riley Deputy Awards and Features Editor Billy Magnussen always understands the assignment. Whatever the medium or genre, the actor manages to stand out with an impressive range.

For anyone in the midst of, or having previously endured, the pains associated with the salad days of youth, that time-honored tradition of finding one’s unique voice while attempting to entrench oneself within the local population of similarly-aged peers as new feelings and emotions emerge on a seemingly daily basis is, at best, an uphill battle. At worst, it can serve to cripple a developing soul in ways adults may struggle to comprehend fully; it is for these reasons that any successes along the way need not be ignored but celebrated; friendships with like-minded individuals and membership in groups catered to one’s passions are more than a hallmark of these undeniably short years and could be seen as wholly necessary to a developing personality.

In Michael Showalter’s The Idea of You, based on the novel by Robinne Lee, Amazon/MGM brings to the screen a narrative that tantalizes with the prospect of exploring the complexities of love, age disparity, and the pursuit of happiness in the digital age. Anchored by Anne Hathaway’s Solene, a single mother and art gallery owner, and Nicholas Galitzine’s Hayes Campbell, a young pop star from the fictional band August Moon, the film sets its sights on charting the course of an unconventional romance, but the script muddles it all up to produce a somewhat funny, somewhat entertaining, albeit overly long romantic comedy.

Alex Garland‘s latest film, Civil War,  from A24 and featuring a star-studded cast including Kirsten Dunst, Cailee Spaeny, Wagner Moura, Stephen McKinley Henderson, Jesse Plemons, and Nick Offerman, aims to hold a mirror up to a society spiraling out amongst civil war. In a time when flipping through the news or scrolling through social media can feel like peering into dystopia, Garland wants to crystallize these anxieties into a narrative form, offering a prophetic vision of America’s future. However, despite its ambitious premise and high-caliber cast, the movie stands as a muddled reflection, ultimately rendering its cautionary tale less impactful than intended.

Very obviously trying to emulate the DIY approach of producers Justin Benson and Aaron Moorhead, Michael Felker’s lo-fi mind f*ck “Things Will Be Different” is both a fascinating debut and somewhat derivation of the filmmakers’ body of work. Clearly influenced by the Benson/Moorhead aesthetic and style, and sometimes slavish to their approach in a way that makes the film feel fairly familiar, this tiny, one-setting film may bring up more questions than answers.

“Choices, choices…,” says the narrator, a young seamstress, in this strange and striking debut from Freddy Macdonald. A neo-noir in the early Coens tradition, Sew Torn also features a bold tri-part structure in which the heroine, Barbara (Eve Connolly) — like Lola before her in Tom Tykwer’s Run Lola Run — gets three standalone chances to pursue a different destiny after stumbling on the bloody aftermath of a drug deal gone wrong on a quiet country road.  

For the most recent precedent for Grand Theft Hamlet, you’d probably have to go back nearly 20 years, to a 2006 episode of South Park. Titled “Make Love, Not Warcraft,” it found Cartman marshalling his friends to take on a super-advanced rogue player with a posse of killer crabs who has taken to killing everyone in his path in the Tolkienesque greenfields of Azeroth. This virtual psychopath sends shivers down the spines of the programmers at WoW’s corporate HQ (“Gentleman, we are dealing with someone who has absolutely no life…”).

Confusion and how information is communicated, relayed, and delayed in a thriller can be a fantastic artistic weapon in the filmmaker’s toolkit. With his mathematic precision, filmmakers like Christopher Nolan can understand the Swiss watch nature of perfectly timed breadcrumbs of info that can preserve the mystery and keep an audience enraptured and on the edge of their seats.

In the space of just three months, the Princess of Wales’ life has been turned upside down… but if there is someone she will be more grateful for than ever before, it is her mum, Carole. “I’m sure Kate has been hugely thankful that her parents live nearby," former BBC royal correspondent Jennie Bond tells OK!.

Jake Gyllenhaal is hitting the red carpet.

SPOILER ALERT: This post contains some details of Netflix’s 3 Body Problem, set for an eight-episode launch on the streamer on March 21.

We Were Dangerous begins so strongly and so confidently that it promises to take a grim but familiar period movie trope — the victimization of vulnerable young women in an authoritarian, male-dominated, post-war Christian world — and turn it inside out, mining it for deadpan, absurdist comedy instead of political outrage and focusing on the unexpectedly deep and moving friendships that can be made even in the darkest of situations. Frustratingly, it never quite comes together as the wry, subversive coming-of-age movie that it might have been, but the performances are powerful enough in Josephine Stewart-Te Whiu’s debut that its emotional heft is surprisingly indelible.

In the era of action films like John Wick, the bar for adrenaline-fueled entertainment has been set high, and there exists a fine line in the world of cinematic remakes that one has to draw between regard for the original and fresh perspectives. Doug Liman directs the remake of the classic 1989 film Road House, which premiered in the Headliner category at the 2024 SXSW film festival and unfortunately, this remake starring Jake Gyllenhaal, delivers a lackluster and ultimately unnecessary retread of the 1989 Patrick Swayze film.

Adopting a baby can often be a long and grueling process. Finding a child up for adoption or an expecting mother who feels she’s a match is not for the faint of heart.

Owen Gleiberman Chief Film Critic “Road House” is an infectiously stylish piece of slumming. It’s a remake of the 1989 Patrick Swayze cheeseball action cult film, and it’s staged with a verve and wit and dynamic grittiness that make the original film look even more rickety than it once did. Doug Liman, the director of the new “Road House,” has always been a gifted maverick, but I still like his earliest films (“Go,” “Swingers”) the best.