ROADHOUSE REHASH AND THE SILENT DEBATE: Dissecting a Cult Classic's Remake and the Art of Conversation

Ever found yourself wistfully reminiscing about the golden days of action cinema, where testosterone and explosions ruled the screen? That's exactly where I found myself recently, pouring over memories of watching "Commando" and "Predator" with my grandfather, and how those moments framed my views on Hollywood's take on realism. Join the conversation as I dissect the "Roadhouse" reboot, sharing unfiltered opinions on how it stacks up to the original and the sometimes contentious discussions that follow. Hear my candid thoughts on missed opportunities in the film's storytelling and the intriguing impact of Jake Gyllenhaal's casting in a role that's become a cult classic.

Navigating the minefield of conflict resolution is no small feat, especially when movie critiques turn into impassioned debates. Picture this: a dialogue about a film leads to a silent standoff, and I'm left pondering why some can't seem to agree to disagree. Reflect with me on a recent debate that fizzled into silence and learn why embracing different perspectives is crucial, both in the realm of celluloid and real-life relationships. This episode isn't just about films—it's about the lost art of conversation and why understanding and communication are the bedrock of any meaningful interaction, no matter the subject matter.

Transcript

Speaker 1: 0:18

Another reboot. The infamous Roadhouse has been rebooted. Did you watch it? I started to. Anyway, this is the Objective, jerk, and I'm said, jerk, how you doing? Hope everybody's doing well.

Speaker 1: 0:41

I've been a little under the weather still and, uh, just not really in the mood to to, um, you know, talk about anything. And then I just kind of I made a comment about the roadhouse movie and then been having like a little dialogue back and forth with a guy and so, I don't know, I just thought I'd talk about it. Uh, nothing like you know, nobody fighting um, although he just made another comment. So I'll see, I'll read it here in a second, but anyway, so, yeah, so, you know, when I was younger I remember watching movies, specifically like with arnold arnold, you know, watching um commando or something, and with my grandfather and something would happen and he'd be like, yeah, right, okay, you know, I mean he would just like kind of pick it apart a little bit and I was like what are you talking about, man, what's what's? So, yeah, right, it's awesome, you know. And as I got older, you know things like I would start to kind of notice more like the predator, right, predator, awesome action movie. Yes, there's some over the top, but I mean it's a sci-fi movie so you can kind of get more like the predator, right, predator, awesome action movie. Yes, there's some over the top, but I mean it's a sci-fi movie so you can kind of get away with it. That's kind of. The thing is like if you're doing a realistic kind of movie, it needs to be realistic, you know, I guess.

Speaker 1: 2:13

But anyway, you know, like in predator, I remember when, uh, jesse ventura is dead and they're all shooting into the jungle and it's like why are you guys just shooting rounds off like crazy, like as a kid I didn't really it was whatever. But it's like, dude, you only have so much ammo and you're just shooting that and you can't see nothing. You know what I mean. So it's like it seemed kind of stupid and it is. You know, if you think about it, it's like but you know, one guy was like shooting, he saw something. So they were all shooting. So it kind of does make a little sense. You know, their friend's dead, a guy shooting. They go there, they're offering support. You know indirect fire, shooting, whatever. But I think it just maybe goes on for a little too long is where it doesn't make sense, is where it doesn't make sense.

Speaker 1: 3:02

But anyway, my point is, as you get older and as you experience life and then you watch certain films, you know, you see things and you're just like what you know, why would somebody do that? It's just like in horror movies when they make stupid decisions. You're like why would you do that? Why? But it's kind of part of the movie, right. So you accept it, I guess. But I don't know, in today's culture climate, everybody fighting, nobody like. If somebody doesn't like what you like, then they're evil, you know, and you have to fight about it and argue why what you like is better than or I don't know what it is. You know what I mean.

Speaker 1: 3:47

But for the roadhouse movie, I, you know, I grew up. Well, I grew up. I guess I was a little older by the time it came out, not older, but see, when that come out, I have to look that up. Maybe I'll pull that up real quick. Hold on, let's see oh, 1989. So I was like 11 when it came out and I remember it was my favorite movie because I thought the blonde chick that did the little strip tease was hot and it showed her boobs and I was like, ooh, you know. So that's how I started, you know, watching it. And then, as I got older, you know, I watched it and then I didn't watch it for the longest time and then, as an adult, I bought it and then it's like you know what? This is still a pretty good movie. It's obviously dated the, the, the mullets which mullets are back now for some stupid reason but you know it was entertaining. And is it like the most realistic movie? No, it's a film. So all film, you know you can't, I guess, bash a film because it's not completely realistic, but there are just some things that you just can't let go. You know, like.

Speaker 1: 5:04

So in the new roadhouse, the character dalton, like in his first little scrap, so he, so he, he inadvertently kills somebody in the octagon which sends him into. You know he's up, you know upset about that, you know drinking, whatever this and that, and then he gets the job as the bouncer and then his first little fight. You know he's just like slapping him because he doesn't want to hurt them necessarily. And and then he, he takes them to the er, he drives them to the ER, he drives them to the ER. And it was at that point where I was like what, this is stupid.

Speaker 1: 5:47

And I stopped watching it because I was just like you know what, if I'm getting kind of annoyed or disappointed now, I'm probably going to just be disappointed altogether. And the thing is is I was, I was looking forward to the movie. I remember when they were talking about it with Ronda Rousey, I was like, yeah, I don't know, but maybe it'd be, I was, I was willing to give it a shot. So when that didn't happen, you know, I was fine with it. And then when I heard that, um, jake Gyllenhaal or Gyllenhaal or I don't know how to say his name, but he's a good actor, you know. And so when, when I heard that he was, I was like, okay, cool. And then, even with Conor McGregor, I was like, oh, this might be pretty cool. You know, he's a bad guy and maybe after a while I'll give it another shot. But it's like usually if I, if I watch a movie just with like high expectations, but I was excited.

Speaker 1: 6:42

And then when that was just like, come on, man, so the point is him driving to or driving the, the people that he just got into a fight where they're like gonna work purposely trying to put him in the hospital or kill him, and then he's driving them to the hospital in his car and they're in the backseat is ridiculous, and I'll explain why. So anybody who's experienced life, especially somebody that's been a, you know, a bouncer, any kind of security kind of job, law enforcement, military, you know, been in combat or been in the mafia even knows you don't let somebody who's a possible threat sit behind you in a car, you don't. That's just stupid. You know what I mean, and so I made a remark about that here. I'm going to read this some of the stuff. Let's see what this guy says, though, but so it talks about. You know, the critics are wrong. There was a post in Facebook, or whatever it says. The critics are wrong about the Roadhouse remake, and then I was like the fact that Dalton drives the guys he effed up at the beginning to the ER was dumb, and so I was turned off, and I turned it off.

Speaker 1: 8:00

Some people don't understand that. It's about a good story. The part of what makes a good story is situations that make sense. Like I said, not all movies have situations that make sense, but people are getting smarter and smarter as time goes on, and they have to take that into an account when they're writing these things. You know, just because you write something that sounds cool on paper or whatever doesn't mean it actually works. You know, oh, wouldn't it be kind of cool and funny if he drove him to the ER, showing that he's compassionate? And you know, the guy just got beat up like I get it, but it's like they should have had somebody else look at it and be like yeah, you know, that's like that's kind of dumb, you need to change this or do whatever. And that's a problem I think with a lot of writers today is they're not getting stuff looked at from an outside perspective and or, if they do, they're not, they're not listening to it. So that's what I said.

Speaker 1: 9:04

And this guy comes back. He's like well, perhaps after what he did to the guy in the octagon, he wanted to make sure that they were taken care of. That would make sense for the storyline and he's right. That's why I said I was like agreed, helping them did go along with his character arc, but the execution was dumb. He could have paid for an uber to take them, paid for their er visit or whatever, but driving with potential threats sitting behind you is stupid, which means the riders are stupid, is what I said. And then he's like it's also how he met the doctor. If he didn't take them to the hospital, that wouldn't have happened. Again, I was like I get it, but he could have ensured they had a ride in the Uber and then go to the ER separately to pay for their you know whatever, to show how nice he is and stuff, and then he could have met the doctor. There's other ways to make the story happen that make better sense than what they decided on. You know what I mean.

Speaker 1: 10:04

That was old, though. I said I had a new notification, maybe that I don't know. Something happened anyway. But so you know, that's the thing it's like, and I don't know if it's, if it's, um, you know, just cause I'm getting older, I guess maybe if I was 20 years younger it wouldn't have bothered me. I I know if I hadn't experienced you know cause I was I worked. I know if I hadn't experienced. You know cause I was, I worked. I was in the army, I was in military police.

Speaker 1: 11:03

I mean, that's that's day one, one thing they teach you when you go through law enforcement school and stuff, and and it's just like I said you don't. If there's a potential threat behind you, you don't. You don't let it sit there, you don't let it. You know what I mean you, just you don't. It doesn't matter how badass you are, you're not going to let somebody sit behind. You know what I mean it.

Speaker 1: 11:24

Just it doesn't make sense for you know, especially Dalton, being as smart as he is supposed to be, I think it would have worked much better if he paid for an Uber or had one other person drive them or something, and then followed behind them separately. Hey, I want to make sure I pay. I want to pay for these guys' ER visits, and then, you know, I meet the doctor that way and there's, you know, but it's like it seemed like they, they, they thought of the idea of him giving them a ride and they just thought it was so great and funny and this and that which it kind of is. But, like I said, it doesn't make sense for somebody in his line of work. You know what I mean. So it's just, it's just stuff like that, that really kind of it turns off people to some of some of the movies. Now, know.

Speaker 1: 12:20

And then the thing is too is if you're doing a remake of a movie that's loved. You know you gotta do it, but do it better. Like, what were the flaws of the original? Don't make it worse, you want to make it better. So it's like things that in the original which didn't work, like the mullets or whatever you know, could change that up.

Speaker 1: 12:41

Um, you know, I remember in the original one like I always thought it was stupid that dalton pulled the knife out of um wade garrett. You know, when he was dead he pulled the knife out and then brought it with him to go fight, whatever. It's like dude, that was what killed him. Now his prints are on there. You know what I mean. But it's like, you know, it was about sending a message when he goes to the bad guy. So, you know, but it always still kind of bugged me.

Speaker 1: 13:05

But I was younger.

Speaker 1: 13:07

Well, when I was very young I didn't even realize it, but once I got older it was like that's kind of stupid. But whatever, you know, I let it slide. But now it's just I don't know and it's and I don't know and it's, and part of it is that it's just so much of it. You know, there's there's there's so many people in Hollywood or whatever that write this stuff. That just really. I mean, I'm I'm assuming too that you know the writers hey, spit out some AI scripts for the Roadhouse and they put in the information oh, this one sounds pretty good, and they just kind of edit it. I think that's basically the way things are going and will continue to go, but it's like you can only take so much bad writing when there's a bunch of holes in, in, in in scripts and and all these people meet up but there's no real good reason for it. They have to meet up but they just make up some stupid reason Like, oh, just cosmically, they just happen to be in the same place, same time.

Speaker 1: 14:23

It's like times like well, that works to an extent. But you know, like I said, audiences are getting smarter because we've had years and years of film and stories that you know, I mean, except for young people. That's why young people enjoy whatever and they take whatever. But the thing is the thing that's different between now and then. It's like, like I said, you know, my grandpa used to whatever that's stupid, and maybe I'd ask him why and he'd be like well, and he'd explain it and okay, like people used to. You know, film buffs used to debate films, whether it was good, what was good about it, what was bad, whatever, and then it was fine. But now it's like people if you don't, if you like a film and other people don't like it, then you have to hate them or they're racist or they're whatever. It's like dude, people aren't going to like everything. You know what I mean, um, and generally, and the funny thing is is like most people that even go to the movies now are people like me, or in the 30s, because that's, you know, because kids now, like my kids, don't care about movies at all. One way, the main audience is, you know, 25 to 40, whatever. We're still kind of, but when these movies are written like crap and make no sense, then we're tapping.

Speaker 1: 15:57

I used to watch almost anything and everything. Now I am very, very, you know, picky, especially with new movies. I'd rather just watch an older movie that I know is good or I know that I like, excuse me. So it's like when a movie like the Roadhouse remake, I was looking forward to it. Plus, it was directed by what's his nuts? Who? He's done some awesome movies, some of my favorite films, what's his name? Again, doug Lehman, I don't know. So I was like, dude, this is probably going to be pretty good, see. But now it's like now you got to look at and see. But now it's like now you gotta look at and see who wrote it. It's like you got good actors, good director, but then who wrote it? Let's see. Let's look that up real quick.

Speaker 1: 16:48

Let's see who wrote this film story by some people you can't click on. So story by story is different than screenplay. Who wrote the screenplay? Let me see blah, blah, blah. Doug Lehman okay, a search for a new writer began to revise a previous draft by this guy. And this guy, chuck, whatever Sheldon Turner had turned in a rewrite of the script. Ultimately, rosie and Mondry received final screenplay for Reddit, the story given to the duo in the original.

Speaker 1: 17:27

So this? So the Sheldon Turner guy. So the Longest Yard remake. So he, he writes a lot of remakes, can't come up with original ideas.

Speaker 1: 17:36

Apparently, texas Chainsaw Massacre beginning up in the air what was that one? I don't think I saw that one. X-men First Class is pretty good really. Let's see, I mean so. That's not. Let me look at this guy. Click on some of them. Let's see, I mean so that's not. Let me look at this guy. I'll click on some of them. So this is basically the first.

Speaker 1: 18:10

So it's like his first thing, the roadhouse, whatever but it's like I don't know, it just sucks. Because you know, like I watched the Damsel movie with my wife last weekend or whatever whenever it came out and immediately starting to watch it, it's like you just you see the whatever they call it, the DEI and just trying to incorporate, you know, different representation and all this crap. And you see it and you're just like okay, whatever, and I just kind of I kept watching and then it just it's okay. You know, the movies for kids and more specifically, girls, the movie's all right. I wouldn't watch it again, I wouldn't buy it. Um, why was I talking about that? But yeah, so okay.

Speaker 1: 19:07

So you know, and I wasn't expecting much of that movie, but so I was kind of excited about this roadhouse and I was kind of expecting it to be a pretty good movie. And you know I heard some not so great things, but whatever, I'll watch it. You know I don't listen to critics. I listened to other fans. You know I heard some not so great things, but whatever, I'll watch it. You know I don't listen to critics. I listened to other fans. You know that will watch it and you know. But yeah, I just I don't know that happened and I'm just like, I don't know. I was like, do I want to keep watching this? Maybe I just wasn't in the mood, but I don't know, I just I don't know. I'll probably watch it one day, but that's the thing is like other other individuals just don't understand that.

Speaker 1: 19:57

You know, certain people need to have a well written story, which is far and few between you know, and then the fact is is like, dude, if you enjoyed the movie, especially something that's never seen the original one, I'm sure they think it's awesome and that's great, you know, um, and that's fine, it's not. You know, just because I think something happened is stupid, that didn't bother you, doesn't make you, it's not. You know, just because I think something happened is stupid, that didn't bother you, doesn't make you stupid. I think it makes the writer stupid or lazy. I just think they didn't. They should have took it to somebody other people that have life experience and been like, hey, does this make sense? And they can watch, they can look at it and be like, oh, that's pretty funny.

Speaker 1: 20:41

But yeah, that wouldn't happen. Nobody would do that. Nobody in that kind of anything would drive Like I get it. You know what I mean. They're trying to be like he's a nice guy, he beat the crap out of him. Now he's taking him to the hospital and he's so badass that he could do that without worrying. And then that's how he meets the doctor, like I get where, the, where they kind of you know the idea of it. But then they should have had somebody like yeah, but no, nobody would do that. They would not do that. Oh, but even if he's badass, it's like what does he have eyes behind his head? You got the force. He'll just block somebody, pull over, I don't know. You know what I mean. It's just you wouldn't put yourself in that situation, you just wouldn't. And so they should have figured out another way. They should have. He should have ensured that somebody gave him a ride or an uber or something and then he followed behind to pay for their er visits. That way he didn't put himself in a situation and he's still, you know, being nice to these guys, even though they were attacking him or whatever. And then he meets the doctor.

Speaker 1: 21:48

You know there's multiple ways to make a story happen that makes sense, other than your first knee, jerk. Oh, let's do this. That'd be so funny. You know what I mean. There are, I know there's. You know I've written stuff for like what do you call it creative writing class? And and I know there's.

Speaker 1: 22:10

You know people writing stuff will like come up with something like oh man, I love this part. And then when they have editors or someone else look at it like dude, this ain't gonna work because of this. And they're like they're, they're heartbroken because, man, they love that so much. But they're like, okay, you know what, you're right, that doesn't work, that doesn't make sense, so I gotta take it out, sucks, but you know. And it's like they don't do that anymore. They just write whatever and, and you know, because it made them feel good about the idea they come up with, like they think they're so clever, I don't know, I just I don't know, I don just I don't know I don't get it. But anyway, that's it.

Speaker 1: 22:51

I was sitting there, I don't know, just getting dressed and you know, this guy commented on it. So we're kind of going back and forth a little bit. Like I said, it wasn't, it wasn't. You know, I read you the comments, so it wasn't anything. We weren't like attacking each other or anything like that, but, um, you know it's just kind of funny, but see, that's how it should be.

Speaker 1: 23:12

I mean, I don't know if this guy was angry or pissed off. He didn't say anything. But you know, we debated and then that's it. But the thing that you know he should have been like after my last comment, he should have been like well, I guess maybe he's kind of right, and then he's like hey, I get what you're saying, I still like the movie, you know, and that's it. But then he doesn't say nothing because he feels like he lost the debate, I guess. But it's not really like why can't we have debates? Why can't we have dialogues and talk and disagree, but still be and still get along? You, you know what I mean like that doesn't happen anymore. Anyway, that's it. Appreciate you listening and that's about it. I'll see you next time, thanks.