This could be a great movie if wasn't for a strict fact: there are a lot of clichés here.
Now I understand why this movie spent so few weeks on big screen and then released directly to home video after that. I have to admit that there is a slice of something good in here and I like Rhona Mitra, she is a good and gorgeous actress.
The movie starts well, but when Molly gets in her friend's car and tells her to "go slowly because she is not in the mood for speed", this sentence is something so predictable as the entire movie. And that is something sad, very sad. I could just feel my bad humor taking over me, just waiting for the clichés of the clichés. And I was totally right.
Everything you've been seeing for 20 years in theaters since road movies came to life is here, but as its worst way: just all the bad habits of these kind of movies.
The movie starts with a psychological trauma (cliché number 1), then comes Molly with that sad sentence (cliché number 2), then you meet the bad guy, someone physically injured in the past (cliché number 3) probably by its present object of affection (4). So, you meet the policeman (5), he pretends to be funny (6), but he's not just because his weak dialogs are as weak as the actor. He's a black man (7), he's bearded (8), he's unhappy (9), his life is completely mediocre (10) and he's always searching for something big to happen (11), but he doesn't know it yet (12). The good guy... this is the greatest part for me because he's is the perfect traumatized good guy. He is searching for the killer for centuries (13), he knows everything about the killer's habits even not knowing him (14)... and when I mean "everything" is EVERYTHING (15): the way he thinks (16), the way he acts (17), even why the killer uses to travel for some special place during some time of the year (18), his favorite food and the places he uses to go. The funny thing is that even knowing everything and a little more, the good guy NEVER catches the bad guy and we never know why. Of course the killer finally gets the good boobed girl (19) and leaves some intentional traces behind (20), and... oh, my god, with also a key of an intentional place (21). Believe me or not, the killer's waiting for the good guy at the place where he murdered the good guy's wife! (22) Well, you know... the killer is trying to mean that "HA HA HA, I'VE GOT YOU ONCE AND I WILL GET YOU TWICE!" (23). The killer dresses the girl with the same dress the good guy's wife was using when she was killed (24). The girl survives (25), the policeman appears when everyone needs him (26), the bad guy is killed (27). Of course the bad guy still have his dying breath (28) but then the policeman says something as so impactant as a kick in the teeth (29) and then blows the killer's head with a shot (30). The movie ends (31).
Sound great and entertaining, doesn't it? Of course I can't remember all other clichés, but I guess that 31 is a good number for you to give up seeing this crap. And of course the movie ends with a question on your head: How can a so injured man as the killer have so much strength to places that so heavy girl everywhere he wants??? And this is the cliché number 32.
I love you Rhona, you are great but this is a sh*t.