威龙杀阵 Road House6.8

网友热议

• 来自网友【超级电影迷1973】的评论1989美国动作片《威龙杀阵》，全球累计票房3005万美元，豆瓣评分6.9，IMDb评分6.7。“人不犯我、我不犯人”的电影版释义。这纯粹是为帕特里克·斯威兹量身定制的电影，展现身材，展现功夫，展现帅酷。帕特里克·斯威兹是个全才全能多面手，《人鬼情未了》的文戏爱情戏，《终极豪情》的冲浪动作戏，《辣身舞》的娴熟舞技，全都驾轻就熟，《威龙杀阵》中既有爱情戏，又大展功夫身手。上世纪八九十年代，正是好莱坞非常迷恋中国功夫的时期，本片展示的正是中国功夫，男主练功时很像太极拳，反派对手也是中国功夫。不过本片呈现的动作戏娱乐性不强，一是演员动作不犀利，二是后期剪辑不犀利，所以动作戏有些慢吞吞的，观赏性不足。如今类似本片这种隐身高手挑战当地恶霸的电影多如牛毛，西部片、特工片都有很多，2023年的《伸冤人3》就是这样的剧情。《威龙杀阵》的角色特色是男主是个专门负责平事的酒馆运营主管，这是个很独特很另类的行当。《威龙杀阵》这种片名是上世纪八九十年代香港对美国电影的常见译名，如今看非常俗套，和剧情没啥关系，和英文排名没啥关系，用在哪个动作片都行。2006年有部续集《威龙杀阵2》，没什么名气，网上找不到，豆瓣没评分，IMDb评分惨到4.3。类似于《小鬼当家4/5》那样的冒牌货。2024年，时隔35年，翻拍版《新威龙杀阵》上映。
• 来自网友【他他】的评论It is original versus remake time! Rowdy Herrington’s ROAD HOUSE is a Patrick Swayze vehicle hot on the heels of his runaway popularity generated from Emile Ardolino’s DIRTY DANCING (1987). Underperformed in the box office front and panned by critics, the film was disgraced by 4 Razzie nominations: Worst Picture, Worst Actor, Worst Screenplay and Worst Supporting Actor (for Gazzara). However, in process of time, the film reaps a cult following largely due to its modern-day Western analogue and hyper-masculine camp (rowdy, full-out bar brawls, a topless, tabletop dance exploitation, and a few fiery explosions, that should more than suffice for the targeted audience), not to mention it has a prime-time Swayze flexing his muscles with gentlemanlike tenderness (a necessarily steamy roll in the hay to allure members of the fairer sex) and lethal aggression in equal measure (if you can ignore his dated mullet coiffure, that is).Swayze plays James Dalton, a professional bouncer haunted by a violent past crime, who is recruited to superintend the security of a roadside bar named“The Double Deuce”in Missouri, where he constantly clashes with the local crime lord Brad Wesley (Gazzara), who has been terrorizing the town to line his own pockets. The tension isn’t alleviated by the fact that Dalton is also attracted to Dr. Elizabeth Clay (a tonic and lusciously tanned Lynch), whom Wesley has been carrying torch for. Things will soon get personal, jolted by a poignant loss, Dalton must overcome his own inner demon while weeding out grasping vermin like Wesley and his henchmen, almost singlehandedly, and eventually brings harmony back to the townsfolk. It is diverting to watch a cool-as-a-cucumber Dalton work in harness, instructing his philosophical work ethics to his subordinates, keeping an alert eye on the hustle and bustle, and teaching a lesson or two to those rough-housing, crapulous hayseeds wanting in discipline and basic manners. And the house band on the premises, headed by singer and guitarist Cody (Healy, the heart and soul of the hit-making Canadian trio“the Jeff Healy Band”, is blind, but look how fantastic he thrums the electronic guitar on his lap!), contributes a rowdy yet spirited miscellany of live performances that aren’t merely honky-tonk.Sam Elliott also creates one of his signature screen characters as Dolton’s mentor Wade Garrett, the coolth that brings a whiff of casual confidence to a fraught situation. With his charming demeanor, habitually canted head and the way he binds his long curly crowning glory before duking it out, Wade is far overqualified for what his role is conventionally designated. In comparison, Gazzara’s Wesley lacks both bone-chilling bite and personal tics to rise above his superficial villainies (among the 4 Golden Raspberry nominations, his is the most plausible). Liman’s remake materializes 35 years later, transposing the location to the Florida Keys and making a meal of the cerulean ocean splendor (the actual shooting location is in the Dominican Republic), accessorized with a major explosion of a catamaran yacht and chilling out on a shallowly submerged islet. Also Dalton (Gyllenhaal) is upgraded to a disgraced former UFC middleweight fighter while the road house becomes the lone holdout against a land-grabbing crime boss Ben Brandt (Magnussen), with members of racial minority groups populating the majority of the supporting cast。 Portuguese actress Melchior steps into Lynch’s shoes as Dalton’s love interest, but is incapable of perking up the role’s vapidity. (Incidentally, fans of Post Malone will be disappointed because the importance and the screen time of his character is highly exaggerated). As per one’s preconception, the remake is a revamp on steroids, borne out by Gyllenhaal’s jacked-up physique, whose career path takes an unexpected turn in recent years, as apparently he chooses to label himself as a veritable action star for the male-leaning demographic. Here, his trademark broad smile and sloe-eyed innocuousness is still present, but only as a persona to hide Dalton’s anger issue, whose eruption would turn him into a merciless killing machine, not so unlike his most formidable rival Knox (acting debut for real-life UFC champion and megastar McGregor), a sheer brute who has a proclivity for streaking. Apart from ditching Wade’s character, the remake’s script is a pedestrian affair, the modern-day Western citation becomes a through-line between Dalton and Charlie (Lanier), a gutsy teenage girl he befriends with. The innovation of shooting the fighting scenes with state-of-the-state technology and stunt work turns out to be a double-edged sword, the sense of visceral impact and damage caused by each and every heavy strike is deadened by the ultra-rapid cutting and the action’s gamified aesthetics. The final throw-down between Dalton and Knox is obviously an arduous physical endeavor for both, but the effect doesn’t really packs a punch, cannot hold a candle to Teague (as Wesley’s most homicidal and kung-fu savvy heavy) and Swayze’s brutalizing slugfest in the original. Taking up the gauntlet to challenge Swayze’s iconic role, Gyllenhaal, barring bulking up for both personal gain and career request, aims to channel the monstrosity that is latent in Dalton and under-tapped in Herrington’s film, which the film only manages to extract in a few glimpses. If anything, it is Magnussen who possesses more gusto and showcases more versatility. Whether his Brandit is slimy, supercilious, flustered or flat irate, this is a villain who has relatable characteristics that could hook audience, adding a grace note to another passable remake whose own existence is questionable in the first place.referential entries: Kathryn Bigelow’s POINT BLANK (1991, 6.3/10); Doug Liman’s FAIR GAME (2010, 6.8/10), EDGE OF TOMORROW (2014, 7.3/10).Title: Road HouseYear: 1989Country: USALanguage: EnglishGenre: Action, ThrillerDirector: Rowdy Herrington Screenwriters: R. Lance Hill, Hilary HenkinMusic: Michael KamenCinematography: Dean CundeyEditors: John F. Link, Frank J. Urioste Cast:Patrick SwayzeBen GazzaraSam ElliottKelly LynchKevin TigheMarshall R. TeagueRed WestJulie MichaelsSunshine ParkerJeff HealeyJohn DoeKathleen WilhoiteTravis McKennaJohn William YoungTerry FunkAnthony De LongisJoe UngerKeith DavidGary HudsonRating: 6.9/10Title: Road HouseYear: 2024Country: USALanguage: EnglishGenre: Action, ThrillerDirector: Doug LimanScreenwriters: Anthony Bagarozzi, Chuck MondryBased on the motion picture screenplay by R. Lance Hill and Hilary HenkinMusic: Christophe BeckCinematography: Henry BrahamEditor: Doc CrotzerCast:Jake GyllenhaalDaniela MelchiorConor McGregorBilly MagnussenJessica WilliamsB.K. CannonJoaquim de AlmeidaHannah Love LanierKevin CarrollLuke GageDominique ColumbusArturo CastroDarren BarnetJD PardoPost MaloneTravis Van WinkleBob MeneryCatfish JeanCraig Ng Jay HieronRating: 6.2/10