Sometimes insomnia is a good thing. Late night cable holds all kinds of jewels just use the TV Guide as a map, and look for this one. It is a dark film that appeals admittedly to a small crowd. This is a case where the small crowd is right. I love the strange feeling the film seems to have. At times hard to watch and at others you will wish you could see just at little more. And maybe they should have gone on a little; the ending lacks the overall feel of the rest of the film. And to be honest it almost ruined it. But two days later when I was still thinking about it, I knew I had to see it one more time. It does have something for everyone but is not for everyone that's kinda strange but then it is a strange movie.
72 Reviews
CW: Bulimia, extreme violence, Vincent Gallo in drag
Quinoa198425 March 2020
First of all, I didn't look fully at the cast credits for this before I started watching, so about two thirds of the way in I'm pretty sure I said loud enough for my downstairs neighbors to hear (or on the whole block for that matter) "Holy s*** is that Vincent Gallo! That is Vincent Gallo and what is he DOING?! Am I amused? Yes! Ok!" And then I went on with my viewing.
Bright eschews much of the smuggling and social commentary/wicked satire of the first Freeway for more of a straight take-no-prisoners exploitation flick that in some ways (like it's soundtrack) puts it pretty smack dab in the late 90s as far as what-they-could-afford rock songs, and Little Red Riding Hood is traded off for Hansel and Gretel (only if, hey, we have escaped lady convicts who are half totally crazy and half totally not but capable of self defense, with the occasional lesbianism).
Not that that is a bad thing at all, it's just that it revels far more in the sleaze and murder and drug-fuelled mayhem (I haven't seen so much huffed by characters in one movie in a while), though the first twenty minutes in the prison is Bright especially digging his feet squarely into a Women in Prison movie that is kind of half baked; I get why he is after the exploitative imagery of seeing a row of convict women all puking their guts out, but it's taking something that...
I know how it sounds to pick on this point in a movie where people get killed/sexually assaulted/rampant drug use/prostitution/besting the hell out of creepy goddamn men and so forth, at the same time those are staples of such a grimy and trashy piece. The eating disorder part feels a lot cheaper, like it's there for the shock value (with some binge eating for Natasha Lyonne's "White Girl" once she escapes) without grappling with it being a deeper-rooted problem for so many. I can't criticize it more coherently at this time.
Another issue: I don't think Maria Celedonio a Cyclone is wholly convincing, or at least for what she needs to get to, especially when she has to act dramatic in many scenes. As a badass with attitude, that is something she has nailed down like a pro. When she's up against Natasha Lyonne though, who is doing a whole lot to bring both raw power and attitude and a more psychological approach that, dare I say it for something that goes for the BIG moments and swings at all this material, has subtlety throughout and consistently too.
All this said though, it is fun for much of the runtime, and aptly unsettling in its horror in the final act, and I like that Bright is swinging for such mad ideas and chances... Like what Vincent Gallo is doing here and made me happy despite how unseemly it is. And maybe there is something that Bright is trying to get at with a Mexico underbelly that would allow a Wicked Witch character luring the young with her food that connects to modern day terror in the country... Or maybe not! I recommend it, just that it can't help but look lessor compared to the first one.
Bright eschews much of the smuggling and social commentary/wicked satire of the first Freeway for more of a straight take-no-prisoners exploitation flick that in some ways (like it's soundtrack) puts it pretty smack dab in the late 90s as far as what-they-could-afford rock songs, and Little Red Riding Hood is traded off for Hansel and Gretel (only if, hey, we have escaped lady convicts who are half totally crazy and half totally not but capable of self defense, with the occasional lesbianism).
Not that that is a bad thing at all, it's just that it revels far more in the sleaze and murder and drug-fuelled mayhem (I haven't seen so much huffed by characters in one movie in a while), though the first twenty minutes in the prison is Bright especially digging his feet squarely into a Women in Prison movie that is kind of half baked; I get why he is after the exploitative imagery of seeing a row of convict women all puking their guts out, but it's taking something that...
I know how it sounds to pick on this point in a movie where people get killed/sexually assaulted/rampant drug use/prostitution/besting the hell out of creepy goddamn men and so forth, at the same time those are staples of such a grimy and trashy piece. The eating disorder part feels a lot cheaper, like it's there for the shock value (with some binge eating for Natasha Lyonne's "White Girl" once she escapes) without grappling with it being a deeper-rooted problem for so many. I can't criticize it more coherently at this time.
Another issue: I don't think Maria Celedonio a Cyclone is wholly convincing, or at least for what she needs to get to, especially when she has to act dramatic in many scenes. As a badass with attitude, that is something she has nailed down like a pro. When she's up against Natasha Lyonne though, who is doing a whole lot to bring both raw power and attitude and a more psychological approach that, dare I say it for something that goes for the BIG moments and swings at all this material, has subtlety throughout and consistently too.
All this said though, it is fun for much of the runtime, and aptly unsettling in its horror in the final act, and I like that Bright is swinging for such mad ideas and chances... Like what Vincent Gallo is doing here and made me happy despite how unseemly it is. And maybe there is something that Bright is trying to get at with a Mexico underbelly that would allow a Wicked Witch character luring the young with her food that connects to modern day terror in the country... Or maybe not! I recommend it, just that it can't help but look lessor compared to the first one.
Strange movie actually, but oddly enjoyable...
paul_haakonsen3 July 2022
I remember owning this movie on VHS back in the day, but oddly enough I couldn't recall the contents of the storyline. So as I stumbled upon an opportunity to watch "Freeway II: Confessions of a Trickbaby" here in 2022, of course I opted to sit down and revisit the movie.
Writer and director Matthew Bright actually managed to piece together a rather unique and somewhat far out there type of movie here. But it worked well in favor of the movie, because all the absurdity, the strange characters, the weird events, and everything just seemed to click together all nicely and compiled an oddly enjoyable movie.
The storyline in "Freeway II: Confessions of a Trickbaby" is strange, no doubt about it, especially because the characters are odd individuals carrying heavy baggage of damaged pasts with them, and while it does come off as being a bit too far out there at first, stick with it, because the storyline picks up and starts to make more and more sense as the movie progress.
I found "Freeway II: Confessions of a Trickbaby" to be an interesting movie as it wasn't your typical mainstream movie.
The acting performances in the movie were good, and while I think I was only familiar with David Alan Grier here, then I will say that they had put together a good cast ensemble. I liked the performance of Natasha Lyonne (playing White Girl) and Maria Celedonia (playing Cyclona) in particular.
If you enjoy movies that are somewhat offbeat, then you definitely should give "Freeway II: Confessions of a Trickbaby" a chance. I was genuinely entertained by revisiting this movie from writer and director Matthew Bright.
My rating of "Freeway II: Confessions of a Trickbaby" lands on a six out of ten stars.
Writer and director Matthew Bright actually managed to piece together a rather unique and somewhat far out there type of movie here. But it worked well in favor of the movie, because all the absurdity, the strange characters, the weird events, and everything just seemed to click together all nicely and compiled an oddly enjoyable movie.
The storyline in "Freeway II: Confessions of a Trickbaby" is strange, no doubt about it, especially because the characters are odd individuals carrying heavy baggage of damaged pasts with them, and while it does come off as being a bit too far out there at first, stick with it, because the storyline picks up and starts to make more and more sense as the movie progress.
I found "Freeway II: Confessions of a Trickbaby" to be an interesting movie as it wasn't your typical mainstream movie.
The acting performances in the movie were good, and while I think I was only familiar with David Alan Grier here, then I will say that they had put together a good cast ensemble. I liked the performance of Natasha Lyonne (playing White Girl) and Maria Celedonia (playing Cyclona) in particular.
If you enjoy movies that are somewhat offbeat, then you definitely should give "Freeway II: Confessions of a Trickbaby" a chance. I was genuinely entertained by revisiting this movie from writer and director Matthew Bright.
My rating of "Freeway II: Confessions of a Trickbaby" lands on a six out of ten stars.
Another twisted Matthew Bright movie!
Infofreak24 December 2001
'Freeway II' is just slightly disappointing compared to the original 'Freeway', but once again shows that writer/director Matthew Bright has ideas and attitude to spare. The first movie retold Little Red Riding Hood, this one takes on Hansel and Gretel. Natasha Lyonne is no Reese Witherspoon, but her spunky role here as White Girl, and her memorable turn in the forgotten gem 'Slums Of Beverly Hills' proves that she is more talented than lame-brained crud like the 'American Pie' series and 'Detroit Rock City'. Maria Celedonio had up until this point passed me by apart from a small role in Schrader's 'Touch', but she is sensational here as the psychotic necrophile Cyclona. Vincent Gallo ('Buffalo 66', 'The Funeral', 'Palookaville') has never been less than mesmerizing on screen, even in his dialogue-less blink-and-you'll-miss-it cameos in 'Goodfellas' and 'Basquiat', but portraying the utterly freaky Sister Gomez is one of his most bizarre moves to date! Gallo seems set on carrying on the scene stealing nut job reputation of the late legendary Timothy Carey. More power to him! Gallo even brings along his 'Truth Or Consequences NM' co-star Max Perlich ('Drugstore Cowboy', 'Georgia', 'Gummo') as Flacco, a mumbling hunchback. Perlich doesn't completely surpass his similarly gonzo bit part in Johnny Depp's 'The Brave', but it's great to see him try! 'Freeway II' will appeal to fans of Gregg Araki, John Waters and Bruce McDonald more than Michael Bay lovers that's for sure! A must see for trash cinema lovers.
What was this guy thinking?
Aw-komon9 September 2000
Mathew Bright? Not very bright anymore. How can the same (apparently rational) person write and direct one of the better films of the 90s (`Freeway'), then write and direct an embarrassingly inept sequel that comes close to being the worst film ever made? It is baffling but not beyond comprehension.
`Freeway 2' is a disaster because it tries to refute and deny every implied principle of tempered navigation through untempered waters and madness' that made the original `Freeway' great (as if artistic laws don't exist and can be wished away). In `Freeway 2' Bright has made the biggest insult possible to his own achievement in `Freeway.' In other words, the thin line between Greatness and Utter Manure has never been more conclusively demonstrated. No one will ever be rediscovering `Freeway 2' in the years to come; that's for damn sure (Henry: Portrait of a Serial Killer, it sure ain't). Its only value is as a demonstration model of every nauseating and meaningless DON'T of artistic endeavor to put beside the precariously balanced, fragile, darkly informative DO'S of `Freeway.'
`Freeway 2' is a disaster because it tries to refute and deny every implied principle of tempered navigation through untempered waters and madness' that made the original `Freeway' great (as if artistic laws don't exist and can be wished away). In `Freeway 2' Bright has made the biggest insult possible to his own achievement in `Freeway.' In other words, the thin line between Greatness and Utter Manure has never been more conclusively demonstrated. No one will ever be rediscovering `Freeway 2' in the years to come; that's for damn sure (Henry: Portrait of a Serial Killer, it sure ain't). Its only value is as a demonstration model of every nauseating and meaningless DON'T of artistic endeavor to put beside the precariously balanced, fragile, darkly informative DO'S of `Freeway.'
A freaky fairy tale for fans of weird films.
BA_Harrison12 May 2007
Matthew Bright's unique retelling of the Brothers Grimm's Hansel and Gretel is a twisted, violent, shocking and entertaining film which takes the 'road movie' concept and injects it with class-A hallucinogenics. The result is a lurid nightmare tale of prostitutes, serial killers, cannibalism and paedophilia.
Natasha Lyonne shows she is capable of far more than just teen comedies by starring as White Girl, a bulimic teenager who poses as a whore in order to savagely attack and rob her 'tricks'. Sent to prison for 25 years, she befriends Cyclona (María Celedonio), a psychologically fragile murderous chronic-masturbator(!) and together they escape and head for Tijuana, Mexico, where Cyclona hopes they can find sanctuary with her childhood protector, Sister Gomez (Vincent Gallo).
This freakish fairy tale is certainly not for mainstream audiences, but those who dig more unusual fare should certainly get a kick from the non-stop weirdness on display. With Bright's array of 'colourful' characters and a story that unfolds in an unpredictable fashion, the film certainly never bores.
Much fun can be had spotting the parallels between this film and its source material, Hansel and Gretel. The film uses the theme of food prevalent in the Grimm's classic story, and features an interesting take on the 'trail of breadcrumbs' and a really nasty 'witch'.
A heady concoction of exploitation, art-house, action and horror, Confessions of a Trickbaby is recommended to fans of cinema's wild side, and particularly to those who enjoyed Natural Born Killers, with which it shares a similar vibe.
Natasha Lyonne shows she is capable of far more than just teen comedies by starring as White Girl, a bulimic teenager who poses as a whore in order to savagely attack and rob her 'tricks'. Sent to prison for 25 years, she befriends Cyclona (María Celedonio), a psychologically fragile murderous chronic-masturbator(!) and together they escape and head for Tijuana, Mexico, where Cyclona hopes they can find sanctuary with her childhood protector, Sister Gomez (Vincent Gallo).
This freakish fairy tale is certainly not for mainstream audiences, but those who dig more unusual fare should certainly get a kick from the non-stop weirdness on display. With Bright's array of 'colourful' characters and a story that unfolds in an unpredictable fashion, the film certainly never bores.
Much fun can be had spotting the parallels between this film and its source material, Hansel and Gretel. The film uses the theme of food prevalent in the Grimm's classic story, and features an interesting take on the 'trail of breadcrumbs' and a really nasty 'witch'.
A heady concoction of exploitation, art-house, action and horror, Confessions of a Trickbaby is recommended to fans of cinema's wild side, and particularly to those who enjoyed Natural Born Killers, with which it shares a similar vibe.
Amatuerly made garbage
kenickie28 April 2002
Look, say to me there's a twisted, low-budget, obscure, 'alternative', b-grade shocker to watch and I'm all eagerness. But no matter how determined I was to enjoy it, this tripe proved virtually unwatchable. Natasha Lyonne? Go find a dinner theatre that'll take you. Matthew Bright? Retire. Now.
Couldn't stop watching!!
xxmoonxx21 May 2002
This movie was soo twisted I couldn't help myself...I couldn't stop watching...I hate the friggin title since it has NOTHING to do with the movie, but I've never seen anything like it...I loved the Hanzel and Gretel twist...Natasha Lyonne has become one of my fav actresses...A must see!!!...I cannot believe I completely lived my life for three years without knowing this movie even existed...
Tonally All Over the Map and Boring
bkrauser-81-3110643 September 2017
Freeway II: Confessions of a Trickbaby is the answer to the question: what would happen if you mixed a cheap 'women in prison' skin flick with an episodic Mexican soap opera, then amped up the violence to full on Tarantino. It's depraved, gross, mean-spirited, and unconscionably stupid, tonally all over the map and worst of all
actually kind of boring.
Director Matthew Bright first came into the public eye with the release of Freeway (1996); a Reese Witherspoon helmed crime drama that subverted the tale of Red Riding Hood. This unrelated sequel has a bulimic Natasha Lyonne and a murderous Maria Celedonio escaping from their prison-hospital and meandering towards a Hansel and Gretel parallel whereby Vincent Gallo plays their witchy tormentor. It's not the worst idea and even with its cheapness and over-reliance on shock value, Trickbaby is still not the worst interpretation of the Brothers Grimm tale.
But even if you take away this movie's top-level faults it still remains a rhythmically challenged dud. It jerks us along through episodic misadventures assuming that having the cops chasing our two leads is going to keep a level of tension throughout. It doesn't; thus the movie runs the gauntlet of being too reckless and too posturing not just act to act but scene to scene. One minute the girls are killing Border Patrol agents in cold blood and the next David Alan Grier is getting a handy on a public courthouse bench. One minute we're witnessing what basically amounts to a satanic ritual sacrifice and the next we're being "charmed" by hacky Three Stooges slapstick. By the way this is all being done to the non-stop sounds of post-fad ska music and wannabe Alanis Morissette therefore guaranteeing no matter what you're supposed to feel, it just comes across as annoying.
Annoying and infinitely puerile would be what I'd label this film. It's a sequel that removes everything that made the first one work including its built-in tension and its humanity. It fails in its satire to an embarrassing degree and its shock value doesn't go beyond ill-timed gross outs and in-your-face sexuality. My advice is if you really want to see Natasha Lyonne in prison garb, check out the first three seasons of Orange is the New Black (2013-Present). Otherwise stay far away from this horrid piece of trash.
Director Matthew Bright first came into the public eye with the release of Freeway (1996); a Reese Witherspoon helmed crime drama that subverted the tale of Red Riding Hood. This unrelated sequel has a bulimic Natasha Lyonne and a murderous Maria Celedonio escaping from their prison-hospital and meandering towards a Hansel and Gretel parallel whereby Vincent Gallo plays their witchy tormentor. It's not the worst idea and even with its cheapness and over-reliance on shock value, Trickbaby is still not the worst interpretation of the Brothers Grimm tale.
But even if you take away this movie's top-level faults it still remains a rhythmically challenged dud. It jerks us along through episodic misadventures assuming that having the cops chasing our two leads is going to keep a level of tension throughout. It doesn't; thus the movie runs the gauntlet of being too reckless and too posturing not just act to act but scene to scene. One minute the girls are killing Border Patrol agents in cold blood and the next David Alan Grier is getting a handy on a public courthouse bench. One minute we're witnessing what basically amounts to a satanic ritual sacrifice and the next we're being "charmed" by hacky Three Stooges slapstick. By the way this is all being done to the non-stop sounds of post-fad ska music and wannabe Alanis Morissette therefore guaranteeing no matter what you're supposed to feel, it just comes across as annoying.
Annoying and infinitely puerile would be what I'd label this film. It's a sequel that removes everything that made the first one work including its built-in tension and its humanity. It fails in its satire to an embarrassing degree and its shock value doesn't go beyond ill-timed gross outs and in-your-face sexuality. My advice is if you really want to see Natasha Lyonne in prison garb, check out the first three seasons of Orange is the New Black (2013-Present). Otherwise stay far away from this horrid piece of trash.
Overrated by some, underrated by many
rbclarke27 March 2001
This film doesn't deserve the hammering it seems to be getting at the hands of the IMDB voters. Maybe Freeway II does try a bit too hard to be trendy, and Vincent Gallo is a bit irritating. On the positive side, there is some great photography, especially when the girls hit Mexico, the soundtrack is fantastic and Natasha Lyonne is awesome.
If you want to rent something a bit colorful, then you could do a lot worse.
If you want to rent something a bit colorful, then you could do a lot worse.
Terrible!
WsideFC9 November 2002
This was the most horrible movie I have ever seen. Despite the lesbian action, this movie was nothing. It is more ****ed up then ****ed up if that makes any sense. Why would I want to see a girl throw up 50 times. If I really wanted to see someone throw up that many times or even one time, then I would visit a college dormatory on a Friday night. Also, what is up with having a girl have sex with a dead body. That is disgusting. No one needs to see that. The original Freeway is way better then this one. My roommate is a huge fan of the original Freeway. He had to walk out halfway through this film cause it was so bad. The only person who would like this movie is Nick Von Mosch!
exploitation at its finest
stefanlockdown2 June 2005
to give you an idea of exactly how over the top this movie is heres some of the key elements present:
bulimia/vomiting lesbianism amputees necrophilia serial murder transvestitism child abuse/torture cannibalism prostitution drugs (crack, huffing paint, drinking in the shower)
if you like that sort of thing i can practically guarantee this will become one of your favorite movies ever. Natasha lyonne gives easily her best, funniest performance and any fan of her work should stop at nothing to seek this out (although its not easy). same for Vincent gallo. Matthew brite is a sick genius and this is the most perverse, depraved, funny and entertaining film in his catalog.
bulimia/vomiting lesbianism amputees necrophilia serial murder transvestitism child abuse/torture cannibalism prostitution drugs (crack, huffing paint, drinking in the shower)
if you like that sort of thing i can practically guarantee this will become one of your favorite movies ever. Natasha lyonne gives easily her best, funniest performance and any fan of her work should stop at nothing to seek this out (although its not easy). same for Vincent gallo. Matthew brite is a sick genius and this is the most perverse, depraved, funny and entertaining film in his catalog.
Underrated
dbrookfield5 August 2002
Clearly not for everyone, but I love to vicariously peak at the seamy underbelly of life, and this is one degeneracy-packed film. Was paced fairly well, dialogue was mostly decent (better than a lot of hit hollywood movies, anyway), and the plot gets resolved in an interesting way.
ONE OF THE WORST FILMS IN A LONG TIME!!
Jeff Cramer21 February 2000
First off, let me say, I did enjoy the original Freeway and I liked Bright's script for GunCrazy. I have enjoyed Natasha Lyonne's work in Slums of Beverly Hills and American Pie. At the bare minimum, this sequel ought be at least a good B-movie delight, but it isn't. It is awful beyond belief. The movie is about Lyonne, a bulimic delinquent who is sentenced to 25 years in jail. She resides with a lesbian, homicidal cellmate. The two escape and through various adventures, rob, steal and kill their way through. They come across Sister Gomez, (played by Vincent Gallo) a transvestite nun, who is an apparent savior that is going to cure Lyonne's bulimia and the cellmate's homicidal feelings. Gomez has other ideas on his/her mind as he/she planning to bake a pie with little kids in it.
Fairy tale themes and sleazy black comedy were all better done in the original. Here, they are badly handled. The original film had a sympathetic character in Reese Witherspoon but Freeway 2's Natasha Lyonne is anything but sympathetic. Lyonne sticks with her cellmate after she realizes the cellmate is a cold blooded killer. Lyonne sticks with this murderer so far that she has a lesbian relationship with her. She also makes her living posing as a hooker and robbing her tricks. She also isn't intelligent. She agrees to her cellmate's escape plan after knowing that the cellmate has a few screws loose in her head. She also hooks up with Sister Gomez and allows Gomez to be her savior even though any rational person can tell that Sister Gomez is not all holy and saintly just by looking at him/her. Yet, what's most objectionable is the film's morals. It points it's fingers at bad parenting, a right-wing judgmental society and uses those reasons to justify a character's cold-blooded murder of senior citizens, cops and a night watchman. It attacks the justice system for giving harsh sentences to people (i.e. the system is harming not healing people) but yet glorifies it's lead character when she resorts to vigilante tactics. The film's treatment of bulimia is sickening. Lyonne's bulimia seems more like a lifestyle choice (that other people just aren't accepting to) than the real-life disease which has emotionally harmed and/or killed people. All, in all, a film, that should have been sleazy fun ends up becoming truly offensive trash.
Fairy tale themes and sleazy black comedy were all better done in the original. Here, they are badly handled. The original film had a sympathetic character in Reese Witherspoon but Freeway 2's Natasha Lyonne is anything but sympathetic. Lyonne sticks with her cellmate after she realizes the cellmate is a cold blooded killer. Lyonne sticks with this murderer so far that she has a lesbian relationship with her. She also makes her living posing as a hooker and robbing her tricks. She also isn't intelligent. She agrees to her cellmate's escape plan after knowing that the cellmate has a few screws loose in her head. She also hooks up with Sister Gomez and allows Gomez to be her savior even though any rational person can tell that Sister Gomez is not all holy and saintly just by looking at him/her. Yet, what's most objectionable is the film's morals. It points it's fingers at bad parenting, a right-wing judgmental society and uses those reasons to justify a character's cold-blooded murder of senior citizens, cops and a night watchman. It attacks the justice system for giving harsh sentences to people (i.e. the system is harming not healing people) but yet glorifies it's lead character when she resorts to vigilante tactics. The film's treatment of bulimia is sickening. Lyonne's bulimia seems more like a lifestyle choice (that other people just aren't accepting to) than the real-life disease which has emotionally harmed and/or killed people. All, in all, a film, that should have been sleazy fun ends up becoming truly offensive trash.
One of My Favorite Movies of All Time!!
femmecritique8 November 2004
Freeway and Freeway 2 are my all-time favorite movies!! I'll admit Freeway was more mainstream with very little sex and violence, and Reese Witherspoon is stunning and superb as Vanessa, but Freeway 2 breaks ALL the rules!! I've watched it several times and have it on VHS. This movie's got it all: girls in prison, bad girls gone badder,lesbianism, miscegeny, menstruation, childhood sexual abuse, bulimia, female serial killers, necrophilia, incest, hypocrisy in religion, radical feminism, chicks who pose as hookers to beat up and rob male tricks, manifestations of sexism and racism (in a very satirical way). The best part is that these things are all represented in an in-your-face matter-of-fact way. Its no sappy, emo-drama, Lifetime "channel for women" type of deal. This movie ROCKS! O, and there is some male frontal nudity at the end. I wonder, is that REALLY Vincent Gallo in that scene or just a prop??
Bad movie. Should be avoided like the plague
cofemug13 March 2000
First off, let me say that I gave "Freeway" a 10, and saw it twice in one rental. I hate "Freeway 2" and could not finish the movie. This was so bad it seemed as if the director stopped caring about what he was making. It was rarely funny, too bizarre to be disturbing, and unable to perform. It took everything that made up "Freeway" and turned it up so loud that it blasted out the speakers and isolated the audience in the ruins.
Plot: I dunno if it turns into a Hansel and Gretel story eventually, but it did not seem to be moving anywhere. Were the dead elderly family and the wrecked car supposed to be the equivelent of bread crumbs? Why do we have to explore the same cop situation of inaccuracy that we explored to its full, and much better, extent in the first one? If they reach their hideout, they don't ever have to deal with the cops again, whereas in Freeway, Vanessa would have to deal with them eventually. It was so bad.
Acting: Too much over-the-top. I said in my review of the first, which will be posted soon, that the movie treads a razor-thin line between fairy-tale and reality. This movie fell off. The acting was even less believable than the first, and just seemed to be retarded. Everybody deserves a "Razzie" for this movie.
Style: Overdone. Too much even for trash. Pink Flamingos, one of my favorites even seemed to have a lesser tone than this crap. The first half included a girl and her period, many failed lesbian attempts, a cut leg almost infected, a pain huffing scene, and a girl killing an elderly couple then using a vibrator on their bed with them in it. If you find the last situation funny, then I feel sorry for you. The rest could have been played better if it tried. The only two scenes I laughed in were one where Natasha projectile vomits, and one where she backs over a dead guy. The rest was just bad trash. Not even good trash, which I appreciate. I even love Hollywood Chainsaw Hookers, but this one was horrid.
Anyways, do not see this film. It has no redeeming qualities, or originality so to speak. It was not funny, and just tried way too hard. 1/10
Plot: I dunno if it turns into a Hansel and Gretel story eventually, but it did not seem to be moving anywhere. Were the dead elderly family and the wrecked car supposed to be the equivelent of bread crumbs? Why do we have to explore the same cop situation of inaccuracy that we explored to its full, and much better, extent in the first one? If they reach their hideout, they don't ever have to deal with the cops again, whereas in Freeway, Vanessa would have to deal with them eventually. It was so bad.
Acting: Too much over-the-top. I said in my review of the first, which will be posted soon, that the movie treads a razor-thin line between fairy-tale and reality. This movie fell off. The acting was even less believable than the first, and just seemed to be retarded. Everybody deserves a "Razzie" for this movie.
Style: Overdone. Too much even for trash. Pink Flamingos, one of my favorites even seemed to have a lesser tone than this crap. The first half included a girl and her period, many failed lesbian attempts, a cut leg almost infected, a pain huffing scene, and a girl killing an elderly couple then using a vibrator on their bed with them in it. If you find the last situation funny, then I feel sorry for you. The rest could have been played better if it tried. The only two scenes I laughed in were one where Natasha projectile vomits, and one where she backs over a dead guy. The rest was just bad trash. Not even good trash, which I appreciate. I even love Hollywood Chainsaw Hookers, but this one was horrid.
Anyways, do not see this film. It has no redeeming qualities, or originality so to speak. It was not funny, and just tried way too hard. 1/10
Like nothing you have ever seen before
seawalker26 February 2001
Shortly after seeing this film I could not decide if it was the best film of the year or the worst. After thinking about it, I would go for the latter. This film will not be to everybody's taste. It is violent, crude, loud, rude, funny, lewd, sexy, outrageous, camp, disgusting... and like nothing you have ever seen before.
It is a slight story, but the strength of the film lies in it's execution and the strong performances of the entire cast, especially Natasha Lyonne and Maria Celedonio. Vincent Gallo, in his extended cameo, lives up to his reputation as the true heir to the likes of Dennis Hopper and Christopher Walken - a grotesque performance par excellence.
Matthew Bright's previous film Freeway was inspired by the story of Little Red Riding Hood. This film (prefixed Freeway 2, although with no apparent connection other than the road movie theme) was inspired by the story of Hansel and Gretel. If rumours are to be believed his next film is going to be based on the story of the Three Little Pigs. If this is the case, I can hardly wait to see what he comes up with.
And look out for a moment that would make Dirk Diggler green with envy!
It is a slight story, but the strength of the film lies in it's execution and the strong performances of the entire cast, especially Natasha Lyonne and Maria Celedonio. Vincent Gallo, in his extended cameo, lives up to his reputation as the true heir to the likes of Dennis Hopper and Christopher Walken - a grotesque performance par excellence.
Matthew Bright's previous film Freeway was inspired by the story of Little Red Riding Hood. This film (prefixed Freeway 2, although with no apparent connection other than the road movie theme) was inspired by the story of Hansel and Gretel. If rumours are to be believed his next film is going to be based on the story of the Three Little Pigs. If this is the case, I can hardly wait to see what he comes up with.
And look out for a moment that would make Dirk Diggler green with envy!
WTF?
d5witkow_9914 January 2001
It is difficult to know what to say about this movie. It is not good, but it is strangely compelling. As horrible as it was, I could not stop watching it. Like a car wreck, viewers will find themselves confused, disgusted, and asking themselves over an hour later, "What did I just watch?" This is the kind of film that actors do because they need the money, and later wouldn't want you to see. At least I hope that's the case. Even Natasha Lyonne couldn't save this film. Necophilia, confused teenage lust, vomit, drag-gypsies, kiddie porn, and murder are the main elements of this confused waste of film.
Stupid, Brilliant, Disgusting, Foul - and maybe promising?
pluto-117 December 2000
At first, I was thinking how in the world would such a stupid film got made. Someone had to pony up the $500k+ to make this thing. Then as I continued to watch I got that same sort of "my subconscious is being stuck with a cattle prod" feeling I get when I watch John Waters films. This guy is using this stuff to evoke feelings - and on a certain level I want to resist calling this film art. But it is art. This is worth watching. I have fairly conventional tastes but I can see some intelligence behind all this and I am intrigued. I will be looking out for more from Matthew Bright. I could be wrong, this could just be a bad midnight movie but I don't think/ feel so.
A Piece of GARBAGE
wesor26 November 1999
I loved the first Freeway film with the incredible Reese Witherspoon, however, this movie was simply horrible. It is not funny, sexy, disturbing or interesting in any possible way. IT is pure crap and not worth reading the back cover of the video case. Nobody should ever watch this film it is worse than "Batman and Robin".
Natasha Rules!!!
xaing914 June 2003
Natasha is so HOTT. Especially in the scenes in Mexico. Maria is cool too. And when they make out in the shower... ooh la la! You know you wanna get it on with this one, ya'll! Vincent is cool also. And one of my favorite actors, Max Perlich is in this movie. Make sure you notice him. And also make sure you got lots of vodka and cranberry juice on hand. Not so much for this movie, but just in case i stop by and need a place to say for a while. You know... till things blow over. Anyways, take is easy, yo!
Natasha is the highlight of this film
applehuntr31 July 2000
The first Freeway was a modern day telling of Little Red Riding Hood, the second one does Hansel and Gretel. Freeway 2 is a very weird, bad film. It's hard to beleive Matthew Bright, the writer of the first one, wrote this one too. This movie is rather sick, it deals with child porn and cannibalism. It pokes fun at bulimia, although I don't know why. I wonder why the very talented Natasha Lyonne chose to star in it, let alone produce it. If you have not seen the first one, go rent that. Skip the second one. Vincent Gallo, who made and starred in the very very good Buffalo '66(go rent that too), also stars as a transexual cannibal. This film is just plain dumb.
An absolutely astonishing piece of gleefully demented & degenerate filth
Woodyanders14 May 2006
Warning: Spoilers
Any film which toplines a teenage bulimic drug addict prostitute criminal sociopath who when she isn't indulging in scarf'n'barf eating binges habitually robs her johns so she can eke out a sordidly meager existence as its anti-heroine is unarguably pushing the limits of good taste and restraint to the breaking point. Well, this shockingly base and savage exploitation stunner not only graphically depicts various acts of all-out depravity in unsparingly explicit detail, but also wallows in a festering sinkhole of unremittingly foul no-holds-barred cinematic scuzziness with a certain lip-smacking fiendish glee. When underage hooker White Girl (the luscious Natasha Lyonne) meets deranged lesbian sexual psychopath serial killer Cyclona (galvanizing spitfire Maria Celedonio) in a brutal juvenile detention center, it's clear right from the start that they are a match made in bad girl hell. Pretty soon the dangerously nutso twosome escape and go on the lam, embarking on a mondo berserko crime spree as they travel cross country to Tijuana, Mexico, where they believe both sanctuary and possible redemption awaits them in the form of demented pedophile cannibal transvestite kiddie-porn making nun (!) Sister Gomez (an amazingly wacked portrayal by "Buffalo '66" auteur Vincent Gallo).
Powered along by a pair of laudably fearless, anything-goes, let-it-all-hang-out dynamic and uninhibited performances by Lyonne and Celedonio, loaded to the grimy gills with nonstop seedy thrills, strikingly ferocious violence, and carnal perversions of every conceivable stripe, and rounding things off with a gruesomely over-the-top nasty conclusion that's sure to knock the air out of your lungs, this thoroughly warped and electrifying crime/chase/chicks-in-chains sleaze film take on the classic Grimm Brothers fairytale "Hansel and Gretel" will either delight you with its impressively shameless and aggressive assault-on-your-senses agenda or offend you to the ninth degree for the very same reason. Before you ask precisely which side of the fence I'm on with this particular flick, let me state for the record that any picture which features nifty cameos by John Landis as a hard-nosed judge, David Alan Grier as a scummy sex-crazed shyster lawyer, and "Drugstore Cowboy" 's Max Perlich as a slacker drunk, numerous acts of vicious murder, masturbation, full-frontal shower room nudity, projectile puking by the literal gallon, necrophilia, spray paint-huffing, and a funky, rollicking trashy score that's in equal parts digging rap and ripping surf-rock will always get my vote.
Powered along by a pair of laudably fearless, anything-goes, let-it-all-hang-out dynamic and uninhibited performances by Lyonne and Celedonio, loaded to the grimy gills with nonstop seedy thrills, strikingly ferocious violence, and carnal perversions of every conceivable stripe, and rounding things off with a gruesomely over-the-top nasty conclusion that's sure to knock the air out of your lungs, this thoroughly warped and electrifying crime/chase/chicks-in-chains sleaze film take on the classic Grimm Brothers fairytale "Hansel and Gretel" will either delight you with its impressively shameless and aggressive assault-on-your-senses agenda or offend you to the ninth degree for the very same reason. Before you ask precisely which side of the fence I'm on with this particular flick, let me state for the record that any picture which features nifty cameos by John Landis as a hard-nosed judge, David Alan Grier as a scummy sex-crazed shyster lawyer, and "Drugstore Cowboy" 's Max Perlich as a slacker drunk, numerous acts of vicious murder, masturbation, full-frontal shower room nudity, projectile puking by the literal gallon, necrophilia, spray paint-huffing, and a funky, rollicking trashy score that's in equal parts digging rap and ripping surf-rock will always get my vote.
Brightened My Whole Day
Robin-5522 September 1999
I have been a bit of a sly fan of Matthew Bright since I saw accidentally saw 'Freeway' on video a few years back. Having subsequently caught up with much of his other work (including the deliriously bad taste 'Revenant'), I am a convert.
Confessions of a Trickbaby shows Bright to be a real auteur in the vein of Russ Meyer or John Waters. Billed as 'Freeway II', 'Confessions' is not so much a sequel as an extended riff on the same themes and obsessions, the same set of grim jokes, the same giggling desire to explore the darker side of teenage sexuality. This time out, Bright's throws in lesbianism, stabbings, shootings, a little girl eating a chicken, aerosol abuse, endless vomiting, old-fashioned vibrators that plug into the wall, an endless list of shattered taboos. Clearly this is not for all tastes.
But Bright's mordant humor and the uniformly excellent and committed performances show this to be a labour of love, rather than simple exploitation. You can almost hear him chuckling from behind the camera, holding his breath and whispering, 'I can't believe I'm getting away with it'.
At the screening I went to, Bright spoke before the film, pointing at the screen and intoning nasally, 'This is my paawwn'. Carry on.
Confessions of a Trickbaby shows Bright to be a real auteur in the vein of Russ Meyer or John Waters. Billed as 'Freeway II', 'Confessions' is not so much a sequel as an extended riff on the same themes and obsessions, the same set of grim jokes, the same giggling desire to explore the darker side of teenage sexuality. This time out, Bright's throws in lesbianism, stabbings, shootings, a little girl eating a chicken, aerosol abuse, endless vomiting, old-fashioned vibrators that plug into the wall, an endless list of shattered taboos. Clearly this is not for all tastes.
But Bright's mordant humor and the uniformly excellent and committed performances show this to be a labour of love, rather than simple exploitation. You can almost hear him chuckling from behind the camera, holding his breath and whispering, 'I can't believe I'm getting away with it'.
At the screening I went to, Bright spoke before the film, pointing at the screen and intoning nasally, 'This is my paawwn'. Carry on.
Rudderless
view_and_review3 January 2021
The ONLY reason I watched any part of this bilge is because I liked "Freeway" with Kiefer Sutherland and Reese Witherspoon. That movie was also low budget, but it had panache. This movie was crud. It was third-rate trash about bulimic prisoners, masturbation, and murder. The movie began with, what seemed like, a five-minute long puking scene. Even if it was only one minute, that's way too long to film someone with her head in a toilet spitting and barfing. I just may have been able to stick it out if I felt it was going somewhere, but it wasn't. The characters were generally repulsive and the story was aimless. It was going nowhere fast so I jumped off.
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