While driving through the New Mexico Desert during a rainy night, the college students Jim Halsey and his girlfriend Grace Andrews give a ride to the hitchhiker John Ryder.
Pretty boy actor C. Thomas Howell stars in this dark, violent suspense film about the strange psychological bond between a traveling serial killer and one of his intended victims. Driving cross-country from Chicago to San Diego, Jim (Howell) narrowly avoids an accident when he falls asleep at the wheel. He picks up a hitchhiker to help stay awake, but within five minutes, the erratic John Ryder (Rutger Hauer) has threatened not only Jim's life, but also his manhood, brandishing a switchblade to the boy's crotch and ordering him to keep driving. Jim manages to escape, but soon Ryder begins a game of cat-and-mouse across the Texas highways, taunting the lad from the windows of passing cars, then leaving the corpses of his victims in their vehicles by the side of the road for Jim to discover. A sympathetic face arrives in the form of Nash (Jennifer Jason Leigh), the waitress at an otherwise deserted truck stop in this bleak, abandoned landscape, but the local police soon arrive, intent on hanging Jim out to dry for the string of grisly murders.
Mark, a disturbed young man, harbors sexual desires for his deceased mother. Driving around the back roads of Va. Beach, Mark seeks out lone females to carry out his twisted sexual fantasies. Enter Daniela, who bares a striking resemblance to mom, who happens to make the mistake of accepting a ride from Mark.
A young man transporting a car to another state is stalked along the road by a cunning and relentless serial killer who eventually frames the driver for a string of murders. Chased by police and shadowed by the killer, the driver's only help comes from a truck stop waitress.
David Atherton made a fine reputation for himself as a contemporary music conductor back in his salad days with the London Sinfonietta, nowhere more so than in his three-disc (now two-CD) set of music by Kurt Weill. He certainly hasn’t lost his magic touch in the intervening years. These performances of the two symphonies sweep the (not very full) board. Swift, lean, incisive, and always exciting, Atherton reveals all of this music’s anger, irony, and bittersweet lyricism without a trace of histrionics or self-indulgence. Indeed, a certain coolness is part of the point too. And so in the marvelous Second Symphony, Atherton catches the neo-classical temper of its outer movements with impeccable wit and grace, making the passionate intensity of the magnificent central slow movement all the more shocking as a result.