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A Masterpiece!

Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

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.

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.

I had never heard of this film before seeing it, I could only tell Robert Harmon was a good director to remember - although "Nowhere To Run" wasn't a very good film, "The Hitcher" had left quite an impression on me. Since "The Hitcher" was such a good road-movie, I believed "Highwaymen" would have to be a good car chase film as well. I was still underestimating the man. First of all, I need to say I've always found polished cinematography was a sign of respect for the audience. I could remember "The Hitcher" being superbly photographed, I could remember long-time Robert Harmon collaborator Eric Red (who wrote several screenplays for Harmon and directed close-in style films) had also shot beautiful images for "Cohen And Tate", and in "Highwaymen", once again, the audience is being served as far as mesmerizing visuals go. The cinematographer, crew and director polished all the visual aspects of the film: lights, framings, colors, sceneries, production design, editing... From the very first images of the film, the scope 2:35.1 format will either please you or turn you off, but I've always found it a very good technical choice whenever films deal with fear, tension, hatred or if action is involved: just look at all the Sergio Leone's westerns that use scope. And this film (along with "The Hitcher", "Cohen and Tate", etc) is not very different from a western as well, some sequences of the film reminding of the usual showdowns, landscapes or framings of westerns.But the visuals aren't the only element of the film that will keep you wide awake. The plot's purpose is very simple, if not humble. It's a film with no pretension whatsoever, if not to tell a simple story well and entertain the viewers (as opposed to a zillion films today that have the pretension to tell badly a complicate story and make half the audience fall asleep while they're doing that). Robert Harmon is a man of few words, and the same goes for his collaborator Eric Red. It's only 10 minutes into the film that I realized there hadn't been any dialogs yet. When came along some dialogs, they were written with enough wit and humor to not be unpleasant ("Congratulations! You arrested his door!"), yet bring something to the story. The film borrows elements from "Duel" by Steven Spielberg, from "Crash", by David Cronenberg, but always in a respectful manner and always bringing something new to what the elements it borrows. The casting is very appropriate as well: Jim Caviezel is a good choice for the main character of the film, Colm Feore's bad guy has all the sick and evil in him you can wish for. The film also makes a stand in the fact that it has close to no gunshots at all, almost no stupid useless sentimental sequences (only one kiss!), also it's not sinking amid boring long speeches sequences between characters, it's so incredibly sober and free of all the usually boring or annoying elements of contemporary films, that its length itself proves how dense and fast-paced the film is: it runs for around 1 hour and 17 minutes (and I really wish more films were like this one, short, dense, inventive and exciting - in a word, stripped bare to its most important elements). The absence of a 2nd unit director says it all: if the director wants to get something done, he does it. This attitude of not delegating tasks is maybe also what makes the difference between good and bad directors; it relates to motivation.See this film, and if you like it dare discover the other road-movies made by Harmon and Red. Much, much better than all the fast and all the furious reunited.

"Highwaymen" marks the return of director Robert Harmon and composer Mark Isham to the subgenre of road-film terror they all but established in 1986's landmark horror film, "The Hitcher." Whereas that film coasted on the ambiguity of Eric Red's minimalist script and the bizarre chemistry between a psychopath (Rutger Hauer) and his victim (C. Thomas Howell), "Highwaymen" is a much 'cleaner' version of that film--cleaner in terms of cinematography, violence, and overall appearance. It's an extremely glossy production with well-choreographed action and razor-sharp editing that places you in the midst of chaos rather than just assaulting your senses. Jim Caviezel's jaded victim exudes the right notes of obsession and exhaustion, and Rhona Mitra's pseudo-Sandra Bullock looks go a long way as she joins up to hunt down Fargo (Colm Feore, looking like a refugee from David Cronenberg's "Crash"), a killer who uses his souped-up 1972 El Dorado as a weapon. As he did in "The Hitcher," Harmon shows confident skill in photography, editing, and the decision to keep villain Fargo off camera for the first hour, thereby upping the suspense considerably. Isham's musical score sets a proper mood and is just as effective as his previous work. Where "Highwaymen" comes up short is in its straightforward, bare-bones story (padded out somewhat by the addition of Frankie Faison's traffic investigator); clocking in at a paltry 81 minutes (including end credits), one gets the impression that characters could have been developed further and more action sequences could have been infused into the film. As it stands, "Highwaymen" is in too much of a hurry, but remains a diverting, fine-tuned thriller all the same.