Radu_A

No one has written a review for this yet although it's one of the most infamous Romanian films. Not because of the subject matter - it's the only film Ceaus(h)escu himself ordered to be pulled from cinemas a few days after its release. He accused it personally of being anti-socialist. The ban went so far as to force director Dan Pit(s)a to eliminate it from his resume. Pit(s)a had made a few very successful buddy comedies in the style of Terence Hill and Bud Spencer, so no one had expected something this serious and the censors had perceived it as an ordinary thriller.

Yet the dictator was not wrong as the conflict between a successful surgeon and a young man, whom he charges with having robbed him on a beach despite having no concrete evidence, mirrors the claustrophobic atmosphere in the country that time. Being accused of anti-socialist behavior was enough to lose one's job and have the entire existence erased. The actual victim, not coincidentally a carpenter, endures his persecution stoically and even goes to jail, since there is no way out. Only when the surgeon cannot let go of this even after his release their confrontation turns tragic.

Pit(s)a avoided being banned from work and played it safe with his next film "Paso Doble" (1985), a love triangle which turned out to be a huge domestic hit. This film was only shown after the revolution of 1990 and increased his reputation. He made a lot of classic literary adaptations until 2014 when he retired at 75. (Sorry for writing the names this way, the site does not allow the use of the proper characters.)

I would suggest to stop watching this at the Alice in Wonderland moment when the two young women walk through the door. Up until then, it's a good premise: two female Mormon missionaries ring the bell of a friendly old male who has requested information about the Church of the Latter Day Saints. Despite safeguards against such situations, they are lured into the house and cut off from outside contact, which forces them to engage their host's religious debate. While this is a bit erroneous - for instance, the first monotheistic religion was the Egyptian Aton cult, not Judaism -, it's still challenging compared to what cinema has to offer these days. Hugh Grant indeed gives a very good performance. But then the usual A24 problems start.

For one, there are two young reasonably fit women facing an aged male, with abundant blunt objects around to incapacitate him. Self abandonment is a common absurdity in horror films and often makes up much of their charm. Here, however, the moment of that fateful door passage seems strikingly absurd, because one of the women discovers a weapon which she conceals and which will eventually be used. So the spectator wonders: why wait? Of course, the movie would then be finished prematurely, but if you catch your mind questioning the plot at this point, trust me: turn off this film. It has already given you everything it can.

Once down in the basement rabbit hole, the plot increasingly demands your brain to switch off the functions it previously stimulated. There are so many goofs and inconsistencies that suspense quickly turns into ridicule. To name just one, certain injuries instantly undo the human body's ability to function, and the film asks you to suspend your disbelief twice in this regard.

If you like the subject of religious debate, you're better off with the courtroom drama "Inherit the Wind" (1960), still relevant in spite of its age. If you are looking for more compelling religious horror fare, try "Rec" (2007) or "Wicker Man" (1973), which has Christopher Lee giving the performance that definitely inspired Hugh Grant's.

As so many others have said, this is a film that SHOULD be revolting but somehow ends up excellent owing to an awe-inspiring delivery by Witherspoon and an exceptional support cast who were all at crossroad stages in their lives.

Witherspoon was 19 at the time of filming and had already broken her Disney image with the satire "S. F. W." two years prior. This was her last indie before her big break in 1998 with "Pleasantville". Sutherland's career was in a dry spell after receding from 80's stardom as part of the brat pack. He played a lot of villains in the mid '90s, as in "The Vanishing", "Eye for an Eye" and "A Time to Kill" which may explain why he's so great at it - his return to superstardom came with "24" from 2001. He worked in "A Few Good Man" (1992) with Wolfgang Bodison, who played the accused private to great acclaim but then faded into secondary roles like that of the cheeky officer here. Brittany Murphy played her Lesbian addict after her break with "Clueless" (1995). Equally facinating Alanna Ubach had her greatest role as the titular "Denise calls up" (1992). Both would have deserved more attention and better roles. Shortly seen Amanda Plummer was at the height of her career owing to "Pulp Fiction" (1994). Brooke Shields was at the lowest point of hers after the disastrous "Brenda Starr" (released in 1993) so she did a lot of strange parts - what an exit, she was "Pretty Baby" (1978) and very vividly offs herself after discovering her husband's pedo porn!

If you wouldn't have so much talent packed into this 90's Little Red Ridinghood, it wouldn't leave such a strong impression. While many nasty films of this decade appear morbid and tasteless these days, like Oliver Stone's overblown "Natural Born Killers" (he co-produced this), "Freeway" deserves its cult status and is one of the most neglected and iconic marvels of that time.