As director, Harrington’s contribution is much like Dalton’s: the cooler who tries to tamp down Silver’s most boorish, pandering impulses. But he wasn’t shy about heaping on the brutality and titillation. . . . This pastiche is all about embracing the contradictory. Dead serious yet patently harebrained, Road House can be read as an outlandishly populist version of the Coen Brothers aesthetic.
September 28, 2016