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Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.
Freeway is rude in the way the truth is rude -- only funnier. The movie seduces with its humor, all the while presenting a realized vision of a harsh, absurd world. Read full review
With one foot in the grind house and one in the art house, the smarts in Freeway are more than equal to its visceral kick. Read full review
It seems aimed at people who loved "Pulp Fiction'' and have strong stomachs. Like it or hate it (or both), you have to admire its skill, and the over-the-top virtuosity of Reese Witherspoon and Kiefer Sutherland as the girl and the wolf. Read full review
A hip, corrosive and often hilarious entertainment, the movie strikes another blow for the American independent film. Read full review
Freeway is full of nice touches-such as making the villain a psychologist- that play off the expectations of a familiar story. While also working as a conventional thriller, its many twists on the fairy tale make it work on an almost subliminal level. Read full review
Rather than seeming classic, Freeway appears to be another film maker showcase, a derivative apprentice work. Read full review
Danny Elfman's intense score contributes crucial energy, John Thomas' camera work is first-rate, but the ambitious Freeway ends up merely trashy. Read full review
A white-trash riff on Little Red Riding Hood, the oddly titled Freeway is a road movie that hits a dead end. Read full review
Freeway is roadkill. The directorial debut of screenwriter Matthew Bright ("Gun Crazy") is a sophomoric and morally repellent mix of fractured fairy tale, juvenile social satire, bloody mayhem and overstated B-movie melodrama. Read full review
As it is, Witherspoon's sweet-as-peach-pie Southern accent only grates and writer-director Bright's incessant winking at the audience bespeaks a project that was running on empty before shooting started. [22 Oct 1996, p.88] Read full review