Freeway

source: Freeway

Freeway is written and directed by Matthew Bright. It stars Reese Witherspoon, Kiefer Sutherland, Dan Hedaya, Wolfgang Bodison, Brooke Shields & Brittany Murphy. Plot is darkly based around the Little Red Riding Hood fairy tale and sees young runaway Vanessa Lutz (Witherspoon) hit the road after her parents are arrested. Setting off to visit her grandmother she agrees to a lift from the kind and well spoken Bob Wolverton (Sutherland), only to find that he's not as nice as she first thought. He in turn is in for a big surprise himself since Vanessa is more than capable of looking after herself. Twisted and richly humorous, Matthew Bright's movie oozes originality and quite frankly deserves to be better appreciated: never mind better known! Going into it for a first time completely oblivious to its structure will arguably aid the experience. Suffice to say that the less known about it prior to viewing it the better. All I have to say is that it's violent, sweary and contains very sexually explicit dialogue, so if those things are likely to offend then perhaps stay away from it. But what if I offer up that those things are dealt with a satirical bent? That the tough scenes, and some of them are very tough, are basis to a caustic narrative about social hypocrisy and the often stupidity of the law? Interested? You should be, because once viewed you're unlikely to forget it. It's no surprise to see Oliver Stone's name etched onto the production credits, since this very much feels like a dirty second cousin to his Natural Born Killers. I'd argue that here we have the better acted film with Witherspoon and Sutherland giving virtuoso performances: with admirable support coming from the likes of Bodison, Shields and Murphy. One of the most undervalued film's of the 90s? You bet it is! 8.5/10

If you're in the mood for a totally cynical, nihilistic, immoral and unredeeming film, then "Freeway" is right up your alley. Matthew Bright was apparently trying to emulate the success of Tarantino's first two films, but even, say, some of the vicious criminals of "Reservoir Dogs" had a sense of morality and a trace of humanity - "Freeway" has none. It also has no point. All the characters are unappealing, and Reese Witherspoon, so believable and natural in the same year's "Fear", doesn't have it in her to play a tough girl; she POSES gamely in the role, to be sure, but it's only posing, not acting, and there are times, such as the scene in the car where she's holding a gun and making "mean" faces, when she's excruciatingly unconvincing. (*1/2)

Deeply entrenched in the subversive world of cult films, "Freeway" could be one of the most engrossing movies I've ever seen. Reminiscent of the films of John Waters, it's a satire of such unfunny things as serial killings, drug abuse, prostitution, sexual abuse of underage children, prison life, random acts of violence, and suicide. Like the best Waters, Matthew Bright finds the pathos in all of these things, shaping the movie into a nihilistic comedy. Reese Witherspoon is absolutely marvelous as her character, Vanessa Lutz, a sharp-witted "white trash" girl who makes the best out of every situation she finds herself in. Her mother is a drug-addled prostitute. Her stepfather is a jobless, sexually abusive moron who also hits the pipe. Vanessa herself has a history of being in trouble with the law and has trouble reading, but she's far from stupid. We never once doubt that she will prevail, no matter how desperate her situation becomes. Vanessa is forced to make a move one day when her parents are arrested and a social worker plans on sending Vanessa to another foster home. Unable to face that prospect, she gives her social worker the slip and hits the road to search for her grandmother, who she has never met and who is not even aware of Vanessa's existence. Vanessa's life takes a detour when her car breaks down and she is picked up by Kiefer Sutherland. She does not know that he is the "I-5 Killer", a pathetic but cunning serial murderer who preys on young women he plucks from the freeway. Unfortunately for him, he comes up against the wrong victim when he targets Vanessa. The rest of the story is best left unsaid, although Roger Ebert gave away most of the plot in his review of the film from 1996 (don't ya just love when he does that?). Bright actually references John Waters several times, first by inserting a brief passage that features the opening theme from "Pink Flamingos" and also by making a plot point out of the fact that Vanessa, who is white, has a thing for black guys (much like Penny Pingleton in "Hairspray"). The dialogue is often outrageous, too. But unlike Waters' early films, "Freeway" is technically well-made and structurally better. It also features a number of terrific cameos and roles, including Brooke Shields as Sutherland's snooty, blissfully ignorant wife. Fans of offbeat movies in general might really love "Freeway", while others should probably approach it with a strong stomach.

Move over, Pulp Fiction. Freeway is totally outrageous, over the top hilarious, yet it all somehow has the ring of either truth or understanding or both. The performance delivered by Reese Witherspoon was not only great, it was startlingly great and the best thing I've seen her do. Each turn in the story hit me like a slap in the face, each new character was like a gift, but Reese Witherspoon playing the queen of trailer park trash was done like a symphony. Fantastic!

I know, it may seem ridiculous to some, but actually, even after all these years (now well into 2012), this is still a film to watch, and no one could have delivered the key role more perfectly than Reese Witherspoon. She is simply spectacularly spot on with her characterization of the theme and culture that is her character here. The story is a bit hard edged for some, but sadly, not entirely outside the realms of reality in the current world. Do characters like hers in this film really exist as portrayed? Absolutely yes. Do characters like that portrayed by Sutherland, the predatory pedophile sociopath who appears to be so acceptably "normal" to the outside world? Absolutely yes, as recent history has shown only too clearly. On the surface this may have appeared to be a sort of whacky, creepy crime thriller, but actually, if one actually takes the time to watch this film, there is much more to this than the ad copy may have suggested at the time. It is still currently viable, to this very day . . . has stood the test of time. And it is absolutely one of Reese's best ever performances. Sadly, her more recent work has sort of flattened out into much less risky, complex roles, but hey, a great actress she is.

While watching this film I was disgusted, disturbed, and horrified while all the while LOVING THIS FILM. Living in a house where fairy tale literature is commonplace (my wife studies Children's Literature), I was surprised by this film. Seeing it in the value bin at most video stores, I expected poor production, horrible direction, and a pathetic cast. We have all seen these films that boast big names, but somehow never fully follow through. Freeway is nothing of the kind. It is a carefully written and delivered retelling of one of our most beloved fairy tales with a extremely dark twist. Reece Witherspoon (pre-Legally Blonde) gives a performance that surprised me. I did not realize that she was so capable of bringing this character to life. Her counterpart, the illustrious 'Wolf', played by 80s child Keifer Sutherland, is yet another powerful force in this film. The two of them nearly carry this film on their shoulders. This is one of those perfect examples of a film that did not have much publicity after its release, but has since then obtained 'cult' status through avid viewer's word of mouth. This is definitely a film for all movie critics, film buffs, and fanatics to gaze at just once. I know there were some poor reviews when it was first released, but I am sure that a second viewing would bring this gem back to life. I would also like to add that director Matthew Bright is a film genius. He successfully took a very wholesome and good natured story (or that we think) and transforms it into the fearsome dark story that it should be. Our society has the consistency of taking dark elements and transforming them into stories for our children. A wolf eats a grandmother in this story … how happy and uplifting is that? I applaud Bright for taking this story and transforming it into a modern day fairy tale. It is gripping, fascinating, and downright beautiful. If you enjoyed Natural Born Killers and was hoping for a nicer twist, this film is your answer. I also suggest that if you couldn't get enough of Freeway that you try to get your hands on the very rare Freeway 2: Confessions of a Trickbaby. See how Bright delicately transforms yet another dark fairy tale (Hansel and Gretel) into a modern masterpiece. Grade: ***** out of *****

A twisted take on 'Little Red Riding Hood' with a teenage juvenile delinquent (Reese Witherspoon) on the run from a social worker traveling to her grandmother's house and being hounded by a charming, but sadistic, serial killer / pedophile (Kiefer Sutherland). I really thought this would be good, as it stars one of my favorite Sutherlands. And, you know, he is really good in it, but that did not save the film. Actually, most of those involved were really good. It was more the plot and script that seemed messy and convoluted. The "Red Riding Hood" aspect is very small, and this seems to be more in the vein of "Natural Born Killers", though not nearly as good. I suppose it is worth a watch, especially now that Witherspoon is huge star. But it is far from the best film she has done.

A brilliant, deliciously creative title sequence, backed by a manic Danny Elfman score, sets the trashy, perverted tone of this "adult" version of "Little Red Riding Hood". After her parents (Amanda Plummer and Michael T. Weiss) are arrested for prostitution and a parole violation, Vanessa (Reese Witherspoon) hits the road for Granny's house. Along the way she meets rapist/kiddie *-loving psychologist Bob Wolverton (Keifer Sutherland) and pumps some bullets into him for his inevitable transgression. The narrative here is deliberately nuts and the perverted tone is not to be taken seriously. Trash-loving director Mathew Bright, who also helmed the gloriously exploitive BUNDY, blends elements from slasher movies, courtroom dramas, women-in-prison (WIP) epics, horror flicks and soft core * flicks into this fascinating celluloid stew. Bright, like Larry Clark, appears to be cinematic ally obsessed with women's crotches and panties and sexually promiscuous girls of the under aged or barely legal variety (this is not a criticism, merely an observation). In one zipper-busting scene, a semi-crippled hottie stands up into frame to give us a front seat view of her crotch. During a fight amongst prison inmates, dresses are ripped asunder and, as expected, lesbian love finds a home in Vanessa's jail cell. The festering air of sleaze and shameless exploitation makes FREEWAY a refreshing little number. You can only admire Bright's affectionate approach to the trashy material and be grateful that the once-great John Waters did not get a crack at it. The resolution at Granny's house is too predictable to carry any weight, but the trip itself is never boring. Witherspoon is a ball of angry talent in her first major starring role and has done nothing this interesting since.

This was an awful, horrible, stinker of a movie. Bad acting on the part of all involved. Completely RIDICULOUS characters and situations. I felt insulted watching this. When I first turned it on, I thought it might be a spooky stalker style movie, then it just got worse and worse. I thought I was watching a movie written by a bunch of high school people. One thing I can't stand are totally ridiculous scenes that would never come close to happening in real life. I also can't stand clichéd moments and fake acting. I thought Reese Witherspoon's character was laughable as were the rest. Do yourself a favor and avoid this piece of junk.