In this semi-sequel to the outrageous dark comedy FREEWAY, White Girl (Natasha Lyonne) is sentenced to prison, but breaks out with her serial killer cellmate, Cyclona (Maria Celedonio). They proceed to tear across the States, leaving a trail of chaos in Tiajuana. Director Matthew Bright returns with another modern fairy tale (.. Read more
| Starring | Natasha Lyonne, Vincent Gallo, Maria Celedonio, David Alan Grier |
|---|---|
| Director | Matthew Bright |
| Genres | Horror |
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The second film (after Freeway) in director Matthew Bright's proposed trilogy of radically reworked fairy tales is so over-the-top, it's halfway down the other side. In this outrageous spin on Hansel and Gretel, Natasha Lyonne and Maria Celedonio play damaged teens who break out of detention and strike out on a murderous road trip to Mexico for a climactic confrontation with transvestite nun Vincent Gallo. Skilfully directed in the style of the sexploitation films it so obviously spoofs, this is a picture many people will loathe, though it could earn cult status with those who appreciate its tongue-in-cheek extravagance.
Lyonne, a bulimic career junkie, and Celedonio, a lesbian psycho murderer, are on the lam from the iniquities of the... read more on Time Out
Anyone who has seen the first film in this series will notice numerous major differences between the two films. While the story line and plot structure are very creative and innovative, the way the story was portrayed was less than commendable. Many parts of the film seem overtly sexual and as if they were created for fetish more than to add to the film. There were multiple parts of the film like this, which made it seem more like pornography than a legitimate film starring females.
overrated crap, don't bother!!
But this was seriously pants
Anyone who has seen the first film in this series will notice numerous major differences between the two films. While the story line and plot structure are very creative and innovative, the way the story was portrayed was less than commendable. Many parts of the film seem overtly sexual and as if they were created for fetish more than to add to the film. There were multiple parts of the film like this, which made it seem more like pornography than a legitimate film starring females.
But this was seriously pants
Anyone who has seen the first film in this series will notice numerous major differences between the two films. While the story line and plot structure are very creative and innovative, the way the story was portrayed was less than commendable. Many parts of the film seem overtly sexual and as if they were created for fetish more than to add to the film. There were multiple parts of the film like this, which made it seem more like pornography than a legitimate film starring females.
overrated crap, don't bother!!
But this was seriously pants
While the original Freeway was a bit muddled but saved by the key performances of Kiefer Sutherland and Reese Witherspoon (in probably her best role to date - a far cry from the romcom fluff she currently favours), Freeway 2: Confessions of a Trickbaby covers too much of the same territory but lacks the freshness.
Again using a deconstructed/modern reinterpretation of a fairytale - this time Hansel and Gretel, the first Little Red Riding Hood - some of the same themes are followed but without the same level of reasoning or humour as the first.
Vincent Gallo gives a good turn as a bizarre nun, but the film deteriorates from his entrance onwards and the fairytale angle is too overly laboured.
All in all a reasonably witty stab within a controversial genre; just not as successful as the last time round.
This film is really bad if you want a laugh at really bad acting direction and plot then this is for you
I never want to see this film again
It was pretty good, but like a lot of material it couldn't hang on for what I call a good ending. Watch it for a film experience and it will reward you.
Matthew Bright had a great idea when he considered making a trilogy of films loosely based around the brothers Grim's fairytales. This follows Freeway with a bizarre spin on Hanzel and Gretel. Two messed up teens break out of youth detention with the idea that if they make it to mexico they'll be home free. Both tortured by their childhoods they seek to be cured from their greed for food and killing. They find a ginger bread house with a witch inside (a fantastic part played by Vincent Gallo). This is totally over the top dark humour. Most people will hate it. If you like twisted little tales then this is for you. The final scene has a great 1-liner from the lead actress, who should've been immortalised in that red dress with a cult doll made.
This is an incredible, over the top, cartoon acid trip of a movie. Not really a sequel to Freeway and not as good, but made with similar intentions, and is far more twisted. This gets better as it goes along and stick with it to the end and you will be so happy, as it has one of the greatest endings in movie history. This has cult written all over it.
I don't believe in watching 10 mins, not liking the said 10 mins and giving a film a bad review. It doesn't seem fair! Well at least that's how I used to feel. I actually watched all of this without pressing the fast forward button and I am still puzzled how. This is film art gone wrong. Weird story, crap acting and just an opportunity for a load of pretentious pillocks trying to be too clever for themselves and their audience. If you're that type of person watch this and discuss the basis of the story, effect of abuse, unneccessary violence on the big screen and the relation to a child's fairy tale, but don't even pretend that you enjoyed it or understood what the director was trying to achieve. For everyone else, do something more enjoyable with your time...like cleaning the oven.
The second film (after Freeway) in director Matthew Bright's proposed trilogy of radically reworked fairy tales is so over-the-top, it's halfway down the other side. In this outrageous spin on Hansel and Gretel, Natasha Lyonne and Maria Celedonio play damaged teens who break out of detention and strike out on a murderous road trip to Mexico for a climactic confrontation with transvestite nun Vincent Gallo. Skilfully directed in the style of the sexploitation films it so obviously spoofs, this is a picture many people will loathe, though it could earn cult status with those who appreciate its tongue-in-cheek extravagance.
Lyonne, a bulimic career junkie, and Celedonio, a lesbian psycho murderer, are on the lam from the iniquities of the... read more on Time Out