Storyline
The Double Deuce is the meanest, loudest and rowdiest bar south of the Mason-Dixon Line, and Dalton (Patrick Swayze) 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 (Kelly Lynch) puts him on the bad side of cutthroat local big shot Brad Wesley (Ben Gazzara).
Directors
Cast
Patricia Tallman, Roger Hewlett, Patrick Swayze, Keith David, Kelly Lynch, Sam Elliott, Bob Jennings, Kym Malin, Laura Albert, Joe Unger, Kathleen Wilhoite, Kevin Tighe, Terry Funk, Red West, Ben Gazzara, John Doe, Gary Hudson, Julie Michaels, Marshall R. Teague, Sunshine Parker, Travis McKenna, Jeff Healey, Sheila Ryan, Heidi Paine, Jacklyn Palmer, Christina Veronica, Jasae, Michele Burger
Trailer
Reviews
80
Empire
An immensely enjoyable slice of romanticised fisticuffs, this is a Western in every respect except the stetsons and six guns.
80
Swayze gives up 'Dirty Dancing' for dirty fighting in this violent, spectacular and immensely enjoyable study of Zen and the art of Barroom Bouncing...Mindless entertainment of the highest order.
63
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.
50
Road House is startling because of the intensity of its violence and because of Swayze`s mindless posturing. A young star has sold himself to become a pinup boy.
40
Director Rowdy Herrington lives up to his name: once he's seen to it that all the conventions of the western are in place, he presents an all-out brawl on the average of about every 12 minutes or so, and the battles quickly grow tiresome. Swayze is up to a part that requires him merely to show his muscles and dexterity, but Gazzara is trapped in his hopelessly evil caricature, leaving Sam Elliott (in a too-limited role) to provide the film's only real charm.
