I remembered Kiefer Sutherland played a psychotic killer....and IMDB lead me right to this one. I had seen bits and pieces of this movie on cable and couldn't believe how good it was, but back in those days we didn't have "channel info". This movie is wickedly funny, and Reese Witherspoon plays the most hilarious, bad-girl, tough trailer trash role I've ever seen and plays it fantastically. The slutty makeup and outfits she wears as well as the endless stream of profanity she swears are definitely a lot different than her "modern day" good girl roles she seems stuck in now. This movie is funnier than you can possibly imagine, as things keep happening that just blow you away or shock the pants off you and no main character is what they seem to be at first. Definitely unpredictable, this dark comedy is a rare lost gem I was glad to find again.

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.

This film is somewhat deceptive, in that the characters seem so outwardly stereotypical of the kind of the sub class of the under-educated, drug or sex addled teenagers and the people who prey on them, which makers of slasher films have doled out in the last couple of decades. But Witherspoon brings a fighting charm to the lead character, Venessa Lutz, who has just about everything bad thrown at her that a young person can have thrown at them while growing up. She survives and prevails with grittiness, will and humor. As far from an angel as you can get she becomes vigilante and enforcer of her own brand of justice to a particularly malevolent form of evil visited on by Bob Wolverton (Kiefer Sutherland) and an uncaring and unbelieving law enforcement system. It's really a small classic and should be viewed without any predjudice of youth crime. It then becomes an eloquent statement for better and more rational treatment of young offenders.