desperately tense. A car cruises down a lonely highway at night in the pouring rain. The young driver fiddles with the radio.
He looks up to see a drenched man standing in the middle of the road. He swerves to avoid hitting him. The car lurches to a halt.
A blurred figure is visible in the rear view mirror. Panic grips Jim Halsey (Zachary Knighton) and his shapely girlfriend Grace Andrews (Sophia Bush). Their 1970 Oldsmobile 442 stalls.
Just as John Ryder (Sean Bean) reaches for the door handle the engine guns back to life, They are pursued relentlessly for the rest of the film, and framed as serial killers by the demonic and ghostly Bean. It rsquo;s so similar in method and mood Meyers bothered at all. The answer is simple.
The ingredients still scare us What rsquo;s interesting is how much Harmon rsquo;s original shocked viewers. It was criticised for its depravity and motiveless violence. But that shock value has moved from being the exception to the norm.
The fright genre is being bent out of shape by films such as Eli Roth rsquo;s ghastly Hostel, which features people paying to torture tourists in Eastern Europe. I simply can rsquo;t understand why such films are playing in high street cinemas. They fatally True, there is plenty of visceral brutality in Meyers rsquo;s up-date of The Hitcher, notably when Bean springs the couple, who have been charged with murder, from a police station.
ldquo;Why are you doing this? rdquo; Bush screams. Bean is miles from the scene.
The blood won rsquo;t be to everyone rsquo;s taste, but the film is not unpleasantly graphic.
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