by J.R. Colson
1996, Republic Pictures/Republic Entertainment
(a subsidiary of Spelling Entertainment Group)/Kushner-Locke Co.
Starring Reese Witherspoon, Kiefer Sutherland and Brooke Shields
Written and directed by Matthew Bright
Most modern films have a scene which I call the "aha!" scene: the one, key scene that tells the viewer that the movie in question was not made for entertainment/artistic purposes, but was instead created solely to brainwash you, the hapless Joe Normal, who merely wanted to be entertained for a couple hours on his day off.
In "Freeway," the producers do not waste any time getting to the "aha!" scene -- it comes about one minute into the film: a White teenager (Witherspoon) kissing a black teenager. This is not peck-on-the-cheek, just-friends kissing; nope. This is deep, French-style, "oh-God-oh-baby" kissing. In a high school classroom, no less.
This scene instantly told your normally-open-minded reviewer that the usual Jewish suspects made this film; and, since it was written and directed by a man with the Jewish-sounding surname of Bright, and was produced by a subsidiary of Jewish mogul Aaron Spelling, it seems his instincts were correct.
This movie is sort of a modern-day "Little Red Riding Hood," with Reese Witherspoon (who was also in the last movie I reviewed, "Pleasantville") cast as an unloved teener who is doomed by her no-good, dysfunctional family.
This sad situation eventually prompts a visit from a portly child-protective-services gal, who informs the teen that she will likely have to be put back into the dreaded juvenile "system" as a result of her no-good, prostitute mother and her sleazy sorta-father being arrested again.
Our by-now-fed-up teener Witherspoon is having none of this, and quickly handcuffs the fat caseworker to a bedframe and flees in her rattle-trap car.
This sets the stage for Witherspoon's many unpredictable, sometimes-interesting adventures, usually of the almost-deadly, hair-raising type.
The main storyline here is the innocent but worldly Witherspoon being victimized, several times in fact, by an infamous serial killer, played competently by Kiefer Sutherland. The good-looking-but-mannish-these-days Brooke Shields plays Sutherland's long-suffering wife; an unfamiliar black stud plays Witherspoon's gangbangery-but-still-a-decent-guy-of-course boyfriend (who is, thankfully, finished off early in the film).
However, it is not the various hazards that Witherspoon braves during her flight from The System that makes this film interesting; nope.
Far more interesting is the blatant filth found in this movie, which is sorta shocking even if you are not a regular churchgoer.
In this film, women casually use language about penises, bodily fluids, and sexual intercourse that would make Howard Stern blush; in fact, much of the vileness seems thrown in simply for shock value (unless you know beforehand that Jews, as a race, have a long history of being preoccupied with scatological topics: potty jokes, toilet humor, vulgar descriptions of sexual intercourse, etc.; comedian Lenny Bruce, Jew, pioneered toilet humor in the 1950s; gee, thanks, Len).
A jailhouse lesbian scene involving Witherspoon and a really weird girl is also thrown into the film for no apparent reason other than to turn on the producers; equally telling is the scene in which Witherspoon struggles to secret a shiv in her anatomy. Scatological fun at its finest, brought to you by a race with a veritable fixation on sexual dirt.*
The film's so rife with vulgarity you can almost hear the producers musing: "you know, we could have Reese say 'pecker' one more time, right about here, and then, we could insert another jailhouse, lesbian make-out scene here, 'cause Reese didn't really go far enough in that first lesbian scene....and then......." Ugh.
In other words, this film is a typical "made by Jews to water down the moral/cultural standards of gentiles, thereby making America safer for Jews" vehicle. As are most Hollywood films.
Almost as noticeable as the blatant obscenity is the overt multiculturalism, another Jewish specialty. In this flick we see plenty of black cops, Hispanic cops, female cops, female judges, etc., many more than one would actually see in real life.
Notable here is that the main villain in this movie is, as usual, a White guy (Sutherland); another White guy in the film, Witherspoon's no-good, tattooed sorta-Dad, is actually played by Jewish actor Michael T. Weiss, who is now seen in a TV show called, if memory serves me, "The Pretender."
Yep, those White guys are an evil bunch, huh? None of them are any good!
While this film does have some pleasantly unpredictable moments (such as Witherspoon's character attempting to "off" Kiefer Sutherland at the beginning, or Shields's character eventually offing herself), it is so blatantly a "message movie" that I can only recommend it if someone gives you a VHS copy for free, and even then you will have to visit the National Alliance web site immediately after watching it, to kinda deprogram yourself.
The blonde Witherspoon is a good and natural actress who easily wins over the viewer in a general way; it's too bad that such a talented young gentile is again being used by God's Pets to push their ongoing campaign of cultural destruction.
In summary, "Freeway" is yet another expensive culture-wrecker, cleverly packaged as genuine entertainment by the curly-haired Chosenites among us.
* Jewish porn queen Nina Hartley [Hartman] has said, in print, that Jewish males are the horniest, most over-sexed people on Earth: "I have not yet met a Jewish guy who wasn't a horny rabbit." Here from porn icon/gentile-who-converted-to-Judaism Luke Ford's web site, Winter 2001:
Used to hatred from society, Jews will do its dirty work - such as money lending in the Middle Ages or porn today - to make money. Persecuted for millennia in the various societies they've lived in, many Jews developed an allegiance to their own survival as their highest value and care little about the survival of the persecuting society. Even when Jews live in a society that welcomes them instead of harassing them, many Jews hate the majority culture.
Also, this reviewer is assuming that Bright, like Light and Brightman and similar names, is a Jewish surname, based on long experience with Jewish names.
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