The character Dalton seemed smaller than expected. Dalton (played by Patrick Swayze) is portrayed as a skilled professional, hired to restore order at Frank Tilghman’s Double Deuce Road House in Jasper, Missouri. The establishment is chaotic and violent, but that's only the beginning of Dalton’s difficulties when he clashes with Brad Wesley, the town’s controlling figure. I realize this might be different elsewhere, but here in Britain, a bouncer and a doorman are distinct roles—something those familiar with the profession will confirm. While Swayze’s casting initially seemed unusual, his character, Dalton, embodies the ideal of a doorman; violence is a last resort, employed only when absolutely necessary. This makes Road House an intriguing film regarding its subject matter. However, it slips into predictable territory and becomes generic when the filmmakers rely on tired clichés. The action sequences are well-executed, and the characters are likable (the dynamic between Dalton and his landlord Emmet is especially endearing). It’s also a very sensual movie; there's plenty of masculine appeal as Swayze gets in shape and fights, while Kelly Lynch delivers an appropriately attractive performance as Doc Clay, the love interest—a world where doctors appear and have physiques like Lynch’s. The question remains whether Road House intends to be unintentionally humorous? Beyond the obvious jokes (of which there are many), there are awkward moments that suggest it might prioritize comedy over its action elements. Regardless, Road House is an enjoyable film. Despite being dismissed by some, it's appreciated by others and has developed a cult following as a late 80s genre blend. It’s worth watching at least for Sam Elliott’s memorable performance as Wade Garrett, whose reputation matches the size of Jasper itself. The film receives a rating of 7/10. Footnote: Michael Kamen composed the music, reusing elements from his score for Die Hard the previous year.

Source on TMDB