The Double Deuce is the meanest, loudest and rowdiest bar south of the Mason-Dixon Line, and Dalton has been hired to clean it up. He might not look like much, but the Ph.D.-educated bouncer proves he's more than capable – busting the heads of troublemakers and turning the roadhouse into a jumping hot spot. But Dalton's romance with the gorgeous Dr. Clay puts him on the bad side of cutthroat local big shot Brad Wesley.
Critics met Road House with near-uniform hostility on release, savaging its cartoon violence, witless dialogue, and what many saw as a squandering of Patrick Swayze's post-Dirty Dancing stardom. The one genuine fault line: whether the film is bad enough to be fun, or just bad — a question audiences have kept arguing ever since, giving it a cult following critics never anticipated.
“Road House exists right on the edge between the 'good-bad movie' and the merely bad. I hesitate to recommend it, because so much depends on the ironic vision of the viewer. This is not a good movie. But viewed in the right frame of mind, it is not a boring one, either.”
Roger Ebert·Chicago Sun-Times
“Full of gratuitous mayhem, head-bashing, gay-bashing and woman-bashing, Road House has a malicious, almost putrid tone.”
Hal Hinson·The Washington Post
“Road House is much funnier than most comedies, until it turns vile instead of just stupid.”
Caryn James·The New York Times
“It wasn't sex that Dirty Dancing delivered, it was romance. But in deep Road House country, . . . the undefined made crassly visible, there isn't a whiff of romance anywhere, any more than there's a single jot of common sense.”
Sheila Benson·Los Angeles Times
Action, Thriller
The Double Deuce is the meanest, loudest and rowdiest bar south of the Mason-Dixon Line, and Dalton has been hired to clean it up. He might not look like much, but the Ph.D.-educated bouncer proves he's more than capable – busting the heads of troublemakers and turning the roadhouse into a jumping hot spot. But Dalton's romance with the gorgeous Dr. Clay puts him on the bad side of cutthroat local big shot Brad Wesley.
Critics met Road House with near-uniform hostility on release, savaging its cartoon violence, witless dialogue, and what many saw as a squandering of Patrick Swayze's post-Dirty Dancing stardom. The one genuine fault line: whether the film is bad enough to be fun, or just bad — a question audiences have kept arguing ever since, giving it a cult following critics never anticipated.
“Road House exists right on the edge between the 'good-bad movie' and the merely bad. I hesitate to recommend it, because so much depends on the ironic vision of the viewer. This is not a good movie. But viewed in the right frame of mind, it is not a boring one, either.”
Roger Ebert·Chicago Sun-Times
“Full of gratuitous mayhem, head-bashing, gay-bashing and woman-bashing, Road House has a malicious, almost putrid tone.”
Hal Hinson·The Washington Post
“Road House is much funnier than most comedies, until it turns vile instead of just stupid.”
Caryn James·The New York Times
“It wasn't sex that Dirty Dancing delivered, it was romance. But in deep Road House country, . . . the undefined made crassly visible, there isn't a whiff of romance anywhere, any more than there's a single jot of common sense.”
Sheila Benson·Los Angeles Times
Action, Thriller