Conor McGregor nearly steals the show in the uproarious 80s reimagining of Road House.

Reworded: It may not be easy to embrace the new version of Road House. The original 1989 action movie, known for the rough and sweaty performance of Patrick Swayze, is tough to replace. Many sequels and remakes fall short of capturing the perfect blend of good and bad that defined films from that era, and the Road House remake directed by Doug Liman, known for The Bourne Identity, is causing controversy by skipping theaters and opting for a direct streaming release on Amazon Prime Video. In today’s oversaturated world of disposable content, this move raises doubts about its overall quality.

The decision to release the movie directly to streaming services may have been deliberate, but it is disappointing because director Doug Liman’s playful and extravagant remake seems to have a higher production value than most digital releases. This version of Road House, which has elements of Ultimate Fighting Championship, stars Jake Gyllenhaal as a tough bouncer with a troubled past. The film is clearly meant for the big screen and received a lively response at its premiere at SXSW. The new Road House takes place in the Florida Keys, rather than its original setting in Missouri, and was written by Anthony Bagarozzi and Charles Mondry (who worked with original screenwriter David Lee Henry on the story). It is an amusing and intense experience, although it can be a bit unwieldy at times, filled with sassy exchanges and epic showdowns.

Similar to his predecessor, Elwood Dalton, portrayed by Gyllenhaal, is a dry and thoughtful individual with exceptional skills in mixed martial arts. He leaves a fight that goes too far (in this case, an actual UFC match) and finds himself seeking refuge in smaller, grittier surroundings. We are introduced to Dalton as he is living in his car in the sketchy parts of south Florida, barely making ends meet with the prize money he earns by intimidating amateur fighters like Carter (played by Post Malone), using just his rock-hard abs. Soon, Frankie, a bartender at a nearby bar in the Keys, played by Jessica Williams, enters the scene, providing some confusing exposition. Her trademark sarcastic humor adds a sense of rationality amidst the chaos of south Florida. With a choice between feeling lost and depressed or receiving a few thousand dollars per month to maintain order at her family’s bar, Dalton heads to the Road House, a rundown beachside bar that resembles a less extravagant version of Margaritaville.

It’s a rough establishment. For reasons, the Road House attracts a disproportionate amount of shady characters with hair-trigger rages, and employs a disproportionately high number of good musicians to soundtrack nightly bar fights from behind a chain-link fence. The most destructive patrons are a motorcycle gang led by Dell (JD Pardo), whose 5 v 1 defeat by Dalton illustrates the film’s light superhero touch and gets Dalton embroiled with a cartoonishly villainous developer named Brandt (Billy Magnussen, ever reliable at cartoonish villainy).

The plot of this story involves drugs, corrupt cops, hits, boats, and a shirtless Gyllenhaal doing pull-ups. It can be difficult to follow and is not the main focus. The stakes are raised by money, death, and kidnapping, but they are not well explained. The movie, Road House, is not interested in providing background information for Dalton or the other underdeveloped characters. This includes characters such as Laura, Billy, Reef, Stephen, his daughter Charlie, and Dalton’s love interest, Ellie. Despite some interesting details about Ellie’s estranged family and Frankie’s lineage of successful Black business owners, they are only briefly mentioned and are overshadowed by the action scenes. These details are also not fully explored as the film prioritizes showcasing physical strength and aggression.

The Road House is the place to go for good entertainment and intense fights, and this movie definitely delivers in that aspect. The stunt work is truly impressive, Gyllenhaal gives a convincing performance in his role as a boxer, and UFC champ and entertainer Conor McGregor’s screen debut is electrifying. While the Road House bar may seem like a small and insignificant place, it’s the perfect setting for the world of small-town politics and rivalries that fuel the enjoyment of this film. The fight scenes themselves are on a grand and larger-than-life scale, with crocodile fights, brawls involving the entire bar staff, and a final showdown between Dalton and McGregor’s cocky and occasionally nude hitman. It’s a primal, intense, and absurdly enjoyable experience.

It turns out, McGregor is skilled at portraying an extravagant and villainous character, often outshining Gyllenhaal’s more grounded performance. Liman maintains a sense of control and intensity through showcasing graphic injuries and intense fight scenes. If you have a fear of head trauma or losing your teeth, proceed with caution. Personally, I have never and never will watch UFC, but that is a testament to Liman’s ability to balance flashiness with authentic and gut-wrenching fighting. While the new Road House may not always strike this balance, it still delivers with movie-star charm and a consistently enjoyable experience.