Highwaymen

This is an easy to watch straightforward thriller. The type of movie you just back and enjoy.

A crazed serial killer is running young women down and it's up to Jim Caviezel to hunt him down. The plot is far fetched as many action thrillers are but the cast do such an impressive job that it's hard not to get involved in the story. Whereby most action movies involve actors of a questionable quality, Jim Caviezel and Rhona Mitra are excellent in this ably supported by Frankie Faison.

There are some terrific high action action moments including one particularly suspenseful one.

My only criticism of the film would be the pantomime bad guy and the fact that the ending is as predictable as a wet English summer. However there is much to enjoy in this film and i'm surprised it wasn't a bigger hit.

As if driving the city streets wasn't killer enough add to the terror of car pooling the new thriller by Robert Harmon (The Hitcher / They). Driving from state-to-state from sea-to-shining-sea is a new maniac Fargo (Feore). Fargo is an ex-insurance agent stalking women via hit and run with none other than a 1972 El Dorado. His newest mark is Molly (Mitra), a poor girl if ever there is one, who lost her parents in a car crash and is being toyed with by Fargo. Her only chance of survival is Rennie (Caviezel) who has also suffered loss because of the motor maniac when his wife became one of his early victims. Hunting down Fargo has become Rennie's one and only obsession and no one will get in the way of his vengeance.

Director Robert Harmon returns to the road with this his new (albeit long delayed) thriller. I didn't expect a whole lot due to the releasing woes the film has had which culminated in it being dumped on home video after a woeful limited release. Strangely enough it was a good, fast paced revenge flick that moved about as fast as the souped-up Barracuda driven by none other than Christ himself. Some nice camera-work adds to the tension of several sequences involving car wrecks and attacks. The film also had some nice photography of the open toad too. The sound design was a hit with a very powerful dts track to highlight all that car action. The acting was what you expect from a script that isn't driven by characters but by steel and asphalt.

If you are able to overlook some glaring plot inconsistencies and an occasional implausible set piece then you might like Highwaymen. I was pleasantly surprised. But if you are DVD aficionado the disc offers no special features. Well worth a look.

I had heard about this flick awhile back and never got the chance to see it on the big screen because New Line had to go limited release(which is just dumb) so hardly anyone got to see this film which is a shame because it's a real great flick. From the opening moments I was thrown into the world of the film was never bored.Director Robert Harmon does a great job of shooting car chases the way they're never been shot before. The film is more a slasher than anything:it's got the killer who kills with his car,you got Jesus himself,James Caviezel,out on a mission to stop him at all cost and the lovely Rhona Mitra as the woman cought inbetween.Words cannot descibe how cool this film is,the action is bad a$$ and the use of the way they used the car as a weapon was great. Now while this movie isn't perfect, it is a great show and slasher logic does apply to it, if you wanted real world logic than go watch a drama or something...if you want to kick back and watch a cool flick than this is it. Much props go out to director Robert Harmon for bringing out this great film and much love to Rhona Mitra for looking so hot.

Look this film ain't gonna wow audiences and I'm pretty sure there's some enormous plot holes if you dive that far into it, but the concepts kool, the cars sound awesome and all the actors do their jobs pretty well too.

I think the cars really are the star of the show here but all the actors Cavaziel, Mitra and Faison bring enough here to entertain. Personally I would have a liked a bit more backstory for Feores character but maybe that's just me.

Fun popcorn flick that ain't gonna be everyone's cuppa tea but if you like thrillers with a thread of a story, nice sounding cars and pretty good acting then it's a cheeky hour and 17 minutes plus credits.

TLDR- Cars that sounds awesome, nice driving scene's, okay acting. I enjoyed it.

It's been 18 years and a long time in the TV movie/Van Damme C-list wilderness since Robert Harmon screeched onto the big screen with the acrid blend of scorching oil and hot blood that was The Hitcher. With Highwaymen, he's back in the familiar territory of eerie desert landscapes, lonesome blacktop unspooling to the horizon and two men engaged in a dance of death so ritualised and implausible that it's near-mythic. Rennie Cray (Jim Caviezel) is a vengeful fury, prowling the interstates in a battered Plymouth Barracuda as he stalks the hit-and-run killer who brutally murdered his wife five years previously. This deadly game of tag has left his nemesis James Fargo (Colm Feore) a spite-filled human wreck of broken flesh and prosthetic limbs lashed together with harnesses and straps in his customised Cadillac, taunting Cray with newspaper cuttings of his fresh kills. Caught in the middle is Molly (Rhona Mitra), a survivor of Fargo's latest attack and most likely his next target. Harmon doesn't get bogged down in logic and back story for this fusion of Duel and Crash; indeed, his sketched-in biographies for each protagonist feel welded on as an afterthought. Mitra's got nothing to do but look very fetching as she plays buffeted pawn-in-the-middle, but that's okay because Caviezel and Feore are only required to look grim and tormented as they have at each other time and again on the battleground of the highway. It's a tight 72 minutes but the director still takes time to capture the alien mood of the desert, a landscape further imbued with mystery by Mark Isham's effective electronic score. In marked contrast is Harmon's eroticisation of the car, the camera's lingering fascination with the scars of road accidents, wince-inducing moments of impact and the gunning engines pouring from the soundtrack like the howls of coupling dragons. The climax is appropriately downbeat save for a crummy last scene kiss-off and plot holes the size of Arizona open up when you stop to think about it, but this is a movie best enjoyed in the moment.