Scarecrow-88 Homicidal motorist(Colm Feore), whose 1972 pepper green El Dorado(with a bum headlight)is his tool of execution, is being pursued across America by the film's protagonist(James Caviezel), the husband of a victim he run through in cold blood. Next on this madman's list is a haunted woman by the name of Molly(Rhona Mitra; DOOMSDAY), a motorphobic since being orphaned when her parents were killed in a hit-and-run crash. Cray(Caviezel)will have to protect Molly while engaged in a cat and mouse road game with 'Fargo'(Feore), aligning himself with a state traffic investigator, Mackin(Frankie Faison), when she is kidnapped by the psychopath. Fargo, whose mangled, mechanized body was caused by Cray on purpose when he drove his car into the killer out of revenge for his wife's sadistic murder, will wish to stage a similar crash for Molly..confined to a wheel chair, Fargo has a mechanical brace for his right arm, a prosthetic left arm, and mechanized legs/feet thanks to Cray's handiwork. While following after Fargo, Cray is often left prosthetic arms as bread crumbs..Fargo also enjoys teasing Cray over the CB. Mackin is the investigator when Fargo causes a massive pile-up in a tunnel(and another crash which kills Molly's friend, Boone, portrayed by Gordon Currie)which involves Molly..Molly herself has a reason to get even with Fargo, he hit her pal, Alexandra(Andrea Roth)with his El Dorado as well. Cray has done his homework and gives a psyche evaluation of Fargo to Macklin, how he's always been obsessed with a fascination for "vehicular carnage" since his own father was an automobile insurance agent(pictures of damaged cars and humans were often shown to Fargo as a boy, and this warped him to the degree that he himself had a desire to inflict such harm). Pretty straight-forward, well-acted action thriller, fast-paced with a rather basic, non-complex plot. It all goes as you'd expect and is over before you know it. Feore(Stephen King's STORM OF THE CENTURY)is in the movie for maybe ten minutes, but leaves an impression because he is always good at playing characters that are pure evil. Caviezel remains distant and cold, but I think that's appropriate for his character who is tormented by this man who took his beloved away. Mitra is mostly quietly anguished and aloof, her tragic past having shaped who she is at present. As you might expect in a movie such as this, good use of rural locations and desolate highways, not to mention some well-staged auto crashes and vehicle stunts.

Rubens Junior This could be a great movie if wasn't for a strict fact: there are a lot of clichés here.Now I understand why this movie spent so few weeks on big screen and then released directly to home video after that. I have to admit that there is a slice of something good in here and I like Rhona Mitra, she is a good and gorgeous actress.The movie starts well, but when Molly gets in her friend's car and tells her to "go slowly because she is not in the mood for speed", this sentence is something so predictable as the entire movie. And that is something sad, very sad. I could just feel my bad humor taking over me, just waiting for the clichés of the clichés. And I was totally right.Everything you've been seeing for 20 years in theaters since road movies came to life is here, but as its worst way: just all the bad habits of these kind of movies.The movie starts with a psychological trauma (cliché number 1), then comes Molly with that sad sentence (cliché number 2), then you meet the bad guy, someone physically injured in the past (cliché number 3) probably by its present object of affection (4). So, you meet the policeman (5), he pretends to be funny (6), but he's not just because his weak dialogs are as weak as the actor. He's a black man (7), he's bearded (8), he's unhappy (9), his life is completely mediocre (10) and he's always searching for something big to happen (11), but he doesn't know it yet (12). The good guy... this is the greatest part for me because he's is the perfect traumatized good guy. He is searching for the killer for centuries (13), he knows everything about the killer's habits even not knowing him (14)... and when I mean "everything" is EVERYTHING (15): the way he thinks (16), the way he acts (17), even why the killer uses to travel for some special place during some time of the year (18), his favorite food and the places he uses to go. The funny thing is that even knowing everything and a little more, the good guy NEVER catches the bad guy and we never know why. Of course the killer finally gets the good boobed girl (19) and leaves some intentional traces behind (20), and... oh, my god, with also a key of an intentional place (21). Believe me or not, the killer's waiting for the good guy at the place where he murdered the good guy's wife! (22) Well, you know... the killer is trying to mean that "HA HA HA, I'VE GOT YOU ONCE AND I WILL GET YOU TWICE!" (23). The killer dresses the girl with the same dress the good guy's wife was using when she was killed (24). The girl survives (25), the policeman appears when everyone needs him (26), the bad guy is killed (27). Of course the bad guy still have his dying breath (28) but then the policeman says something as so impactant as a kick in the teeth (29) and then blows the killer's head with a shot (30). The movie ends (31).Sound great and entertaining, doesn't it? Of course I can't remember all other clichés, but I guess that 31 is a good number for you to give up seeing this crap. And of course the movie ends with a question on your head: How can a so injured man as the killer have so much strength to places that so heavy girl everywhere he wants??? And this is the cliché number 32.I love you Rhona, you are great but this is a sh*t.

markymarky First off, I am a great fan of The Hitcher (Director Robert Harmon's best film in my view) and Jim Caviezel (superb actor). So you would think Highwaymen was made especially for me. I saw the trailer a while back and it looked right down my street. However - it was quite hard to get here in Ireland but eventually I picked it up in GameStop for 8 Euro - good value. Or so I thought.The start was great - straight in, no messing around. Caviezel's wife is killed by a hit and run in a thrilling opening scene. The fact that not one word is uttered for the first 8 minutes of screen time but yet the effect on the audience is not diminished is testament to the director's handling. In fact 15 minutes go by before Caviezel says his first words - not bad work for a 77 minute film.However, things go downhill from the beginning.The tunnel crash seemed a little lethargic and contrived for me. Full marks to what seems like a non-CGI aided stunt but the action was a little stunted (excuse the pun) and looked like slow motion. then we start getting into the realms on unbelievability. 1. Macklin has to show ID as a cop to get through a cordon of cops outside the tunnel. Who is already inside? Wandering around untroubled? Caviezel. How did he get in?2. Caviezel then proceeds to look at the crash scene and pick up vital evidence from the road while a hundred cops / medics / firemen etc. swarm the area. And not only that but Macklin spots him and then lets him away with it.3. Then Macklin sees Rhona Mitra's character huddled 8 feet off the ground. What? None of the other 100 cops/medics/firemen etc. saw her sitting in plain view up there? Come on?4. Mitra is then in a hospital bed and guess who is standing beside her? Yep - Caviezel. Again, this guy seems to be able to pop up anywhere he likes without been stopped by anyone.I could go on like this through the whole film to be honest but it would become tiresome in this review....as it was while watching. Plot wasn't one of the strong points in this film as things just happen for the sake of moving the story along - there is no explanation or even reason for these things. Tasting oil, pressure guaging a radiator, Caviezel appearing at a counseling session out of the blue, finding the killer's stopover garage in the middle of nowhere etc. etc.Some of the camera work is good - helicopter scene following the car through a mountainous river scene is sumptuous in the extreme - beautiful. But some of it is downright bad - interior shots in the same scene by mountains are simply lazy. Some stunts are good and inventive - chain pulling the car upside down - but a lot lack real tension (tunnel, ending). The music was good and creepy. In the end - a poor storyline really let's the whole project down. The DVD's scene navigation was great and far superior to some of the main film's work - which is never a good sign.5/10.

dietzdm I am no car genius but that Baracuda was pretty souped up. When Renie and Molly are leaving his shack in the junkyard, he has her turn the car on in an attempt to get over her fear of driving. What makes no sense is how easily the car started. A car with that kind of power would have such a high compression that it would take a little cranking to start it. Any car experts out there have to agree. My boyfriend is a mechanic and totally agrees with me. I like how at the end of the movie when Renie flips the car after being chased and he magically gets it to start again and drive with a flat tire to go after the crazy guy. Why didn't he just get out of the car and beat the weirdo down. As far as the ElDorado goes, whats with the headlight man. You would think he would get pulled over for that thing. Also, somebody tell the crazy guy to get a new fan belt. That thing is making noise the whole movie. One more topic of discussion. How did a guy who is practically a vegetable manage to capture and tie up Molly? As crippled as he was, she could have managed to escape from the guy so easily. Take his arm off and beat him with it! Overall, I thought it was a pretty good movie.