Already from the title and the presentation of the credits, it is intuited that in the next few minutes a cataract of blood will come. And we are not wrong at all. Blood On The Highway is a sample of the new and more delusional American Z-class cinema, clearly independent and low-budget, filmed with no other pretense than amusement and fun.
The story is more than simple: three teenagers (the very dim Sam, his girlfriend, Carrie, and her hefty lover, Bone) head out on the road to a concert that promises to be out of control. Along the way, after ruining the map in the most disgusting way possible, they get lost and end up in Fate, a small town invaded by numerous vampires-zombies.
The undead quickly attack, and in the middle of the fight they meet a survivor (and his unique theory about the origin of vampires) who leads them to the only safe place in Fate: his house. Pursued by the bloodsuckers, they take refuge in the man's residence, who lives with his twentieth wife and a young sex addict. Trapped inside the residence, they will try to escape without being bitten by the not very lucid vampires.
The plot line does not move from this premise, with the love triangle between the three protagonists as a backdrop. The script is loaded with jokes that go through black humor and sexual comments all types. The FX, without being anything of the other world, comply and work quite well.
The acting section does not deserve great comments. The level of work done by the lead trio consisting of Deva George (Bone), Robin Lierhost (Carrie) and Nate Rubin (Sam), as well as the rest of the cast, should analyze based on the movie proposal, which at no time is taken seriously.
A curiosity is the final scene in which it appears Nicholas brendon (Xander, the looser friend of Buffy in the popular Joss Whedon TV series), playing a very particular vampire. To this collaboration, the remarkable resemblance of Robin Lierhost to Sarah Michelle Gellar, coincidences that end up being a wink for Buffy fans.
Also in the last minutes a small and subtle mockery (criticism?) of consumer society, putting the accent on the corporations that hire teenagers to consume their lives.
The film was shot in Texas, United States, by the duo Barak Epstein and Blair Rowan, names of experience in genre cinema. The script was written by Chris Gardner and Blair Rowan and one of the actors, Deva George (Bone), collaborated in the montage.