Blood on the Highway
On their way to a rock concert, Carrie, her boyfriend Sam, and Bone, her thug ex-boyfriend, get lost and wind up in Fate, Texas – a town populated by bloodthirsty, dimwitted vampires. Featuring genre favorites Nicholas Brendon and Tom Towles.
- Stars:Deva George, Robin Gierhart, Nate Rubin, Tony Medlin, Laura Stone, Chris Gardner, Nicholas Brendon, Tom Towles, Richard L. Olsen, Bill Rhoten, James Hoke, Casey Wickson, Charlie Papathanasiou, Blair Rowan, Barak Epstein,
- Director:Barak Epstein, Blair Rowan,
- Writer:Chris Gardner, Blair Rowan
The citizens of sleepy small town Fate, TX gather for the grand opening of Consumart, a shiny new one-stop-shopping box store. The eager consumers gleefully pour into the store as the doors... . You can read more in Google, Youtube, Wiki
Blood on the Highway torrent reviews
(it) wrote: What happens when you add the panic of a new virus that wipes out thousands within 2-3 days with South Korean melodrama? Why, you get THIS movie. This reminds of the 70s disaster movies only on a wider scale and with something more "real" at its core. And I say real because dealing with a virus outbreak, particularly with the H1N1 still so relatively recent in our minds, that I can see people buying into this film's scenario. Even if it does so in an exaggerated manner. At the very least the film does try to alleviate some of its seriousness, at the start, with some slight comedic touches. It's nothing outstanding but I guess it was done to lighten the mood. Understandable, films like this need some sort of humor. There's also the requisite romance subplot which is unnecessary in the face of what is happening to everyone in this city. Granted, at the very least, they do wait until the panic is over in order to go forward with the romance, but it's not like the leads themselves have great chemistry. Both Soo-ae and Hyuk Jang are both talented actors but there's not really much to the roles. Hyuk Jang's character grows to be a father figure to Soo-ae's character's daughter and that's pretty much it as far as development for the former character goes. Soo-ae's character at least has the motivation to save her daughter. This is a slippery slope since this can make the parent come across as incredibly selfish, particularly when probably thousands of other kids are going through the same exact thing. Why should their child be the one that receives special treatment? That sort of thing. But I think this film manages to keep things to a point where Soo-ae doesn't come across as selfish or unlikable for wanting to cure her daughter. Particularly after the fact that her daughter is carrying the antibody, after the original antibody carrier was murdered. The film's story is easy enough to follow up until the point where the politicians become involved. This is when things, honestly, start to unravel and where most of the melodrama takes place. It's the typical 'we must eliminate everyone in order to avoid the virus spreading' shit you've ever seen. And I think the way they hand off this responsibility to foreigners is fairly silly. Silly in the sense that, essentially, the movie is saying that the South Korean government would never willingly do this and put the blame on the evil American scumbags. There is a Korean politician who starts off gung-ho on doing things his way, eliminating everybody who might be infected. But as the film progresses and the 'foreigners' take control, how do they take control, don't ask me, this politician starts to see the error of his ways. This battle between Korean moral decency vs American evilness leads to some really hilariously bad scenes. Scenes that honestly take a lot away from the film. It's not like I thought the film would've been good without it, but at least it would've been better if they left out this very stupid part of the story out of the film. Not that you can't have a little bit of it there, but it takes up way too much screen time and it's way too heavy-handed. The melodrama at the end really sucked there. But it's not nearly as bad as the worst of these films, a terrible movie called Lifting King Kong, which has several characters crying their eyes out for what seems like 3 hours. It's really more like 20-30 minutes, but it was fucking terrible. Anyway, if you've seen that movie then you know what I am talking about. This movie never reaches that point, and it wasn't even close, but the melodrama really hurts the film. It's still fairly watchable and somewhat works. It's just that the political bullshit kills the movie from the inside out and the melodrama doesn't do it any favors either. It's a below average film due to these issues. It'd have been just average without them. So take that as you will. No need to really watch this, though. Nothing special here.
(ag) wrote: One of Ed Burns best overall projects to date and I guess the whole thing was shot for about $9,000 which should give hope to all the up & coming film makers out there.
(ca) wrote: My Favorite Action Film Is 1988's Die Hard.
(gb) wrote: Whoever wrote the short description stated that it was like "Sex & The City" but unfortunately that writer was dead wrong. The portrayal of women during dire times of their lives was much more dramatic and emotional than the characters from Sex & The City could ever go through. Yazaki brought together a young cast that brought their characters slowly through the brooding plots. Each woman going through their own pains was moving.Yes, the film did move slow - but if you've watched a lot of Japanese cinema you'd understand how it is.
(mx) wrote: This is a good movie that looks at some of top video arcade game players from the early 1980's. There are a lot of eccentric characters in the film, some funny, some depressing. If you are a fan of The King of Kong then this movie is for you.
(ag) wrote: If you love the early work of Werner Herzog and the magnificent work Kinski did under his direction - you will love this movie. A great work and an important piece of cinematic history focused on two totally unique visionary artists. Both of whom, seem to have veered into the realm of insanity on more than a few occasions.
(de) wrote: Brilliant journey from India to Spain - a musicological exploration of the Rom peoples across Europe and the deep musical connections that run from East to West and back again.
(fr) wrote: he wasn't a handsome man, he didn't have money , he didn't have strength But only he had a heart.
(kr) wrote: Professor Bernard Quatermass. Most American genre fans will be unfamiliar with the name of this fictional character, unless they've come across [i]The Creeping Unknown[/i], [i]Enemy From Space[/i] or [i]Five Million Years to Earth[/i] (as they were retitled for release in the United States). Professor Quatermass, the head of the fictional British Experimental Rocket Group, originated in a BBC serial written by Nigel Kneale in the early 1950s. The success of the low budget, quickly produced serials made crossovers into other media more than likely. In 1955, Hammer Studios produced the first theatrical feature, [i]The Quatermass Xperiment[/i], directed by Val Guest from Kneale's first BBC serial. Commercial success led to a sequel, [i]Quatermass 2[/i] (the first English-language sequel to feature a number in the title), and more than ten years later, [i]Quatermass and the Pit[/i], the first to be filmed in color. Kneale wrote a final serial for the BBC in 1978 (it made no room for additional sequels). Quatermass and his exploits continue to be considered highly influential in science fiction, influencing the long-running Dr. Who series (including one storyline that borrowed heavily from the third serial) and later, Chris Carter's [i]The X-Files[/i]. Just this year, the BBC revived Quatermass with a new production (performed live, it remains unaired in the United States). As a standalone film, [i]The Quatermass Xperiment[/i] will leave novice viewers wondering why Quatermass became such a popular character in England. Quatermass, as played by American actor Brian Donlevy in the first and second films, is peevish, hot-tempered, and arrogant, with only an anti-authoritarian, anti-establishment streak to make him palatable. In [i]The Quatermass Xperiment[/i], Quatermass has succeeded in sending a manned rocket into space. The rocket ship has crash-landed in the English countryside. Rushing to the scene, Quatermass and his colleagues discover only one survivor (out of three), Victor Carroon (Richard Wordsworth). Victor has devolved into a state of near-catatonia. Quatermass, interested more in what Victor may have learned in space, shows little interest in his well being (Quatermass is too single-minded to allow empathy or compassion dictate his actions). That role is left to Dr. Gordon Briscoe (David King-Wood) and Victor's wife, Judith (Margia Dean), both of whom try, without success to break through Victor's silence. Victor, of course, isn't what he seems. His catatonia hides not just knowledge of outer space and whatever might exist there, but somehow, he's brought something back with him. What that might be is better left unsaid, since it provides one of the few pleasures in an otherwise slow-to-develop, dialogue-driven storyline. After initial resistance from Quatermass, Victor is hospitalized (rather than quarantined, as he probably should be). Chief Inspector Lomax (Jack Warner) slips into the storyline, concerned about the strange disappearance of the two Victor, or rather something, escapes, causing a few offscreen deaths along the way, a massive manhunt, a suspicious slime trail, a scene involving a monster and a little girl (most likely lifted from James Whale's [i]Frankenstein[/i]), a few dead animals at the local zoo, and finally, after much dawdling, a confrontation at Westminster Abbey where the fate of England (and, therefore, the world) is at stake. No points for guessing who wins. Quatermass, unbowed by a brush with an extraterrestrial organism that posed a substantial threat to humanity, chillingly decides to press on with his experiment. As expected for a film made with limited resources circa 1955, the special effects in [i]The Quatermass Xperiment[/i] are, to be charitable, laughable. While we never see the rocket ship in flight (we hear it), the final transformation from man to monster is missing and when we do see the monster (an all-too unimaginative puppet), is less than impressive. The audience is also asked to believe that an oversized, slow-moving, slimy monster somehow escapes detection by the police and average citizens out for their daily constitutionals, until the monster manages to find its way to a scaffold inside Westminster Abbey. Given the time period, the less said about the science, the better. To be fair, Kneale was writing speculative fiction, but given the fifty-year time difference, Kneale's ideas are either wrong or simply quaint. Directing wise, Val Guest does nothing to distinguish [i]The Quatermass Xperiment[/i] from other adult-oriented science fiction films of the period. Guest errs on the side of including too many dialogue-heavy scenes or otherwise superfluous scenes. The actors acquit themselves well, although only Richard Wordsworth as Victor makes an impression (as the sympathetic astronaut). As Quatermass, Brian Donlevy tends to deliver his lines over emphatically, making his characterization unsympathetic (unlike Andrew Keir's interpretation twelve years later in [i]Quatermass and the Pit[/i]). Ultimately, [i]The Quatermass Xperiment[/i] is more notable for its status as the first Quatermass film and its impact on science fiction in the decades that followed.
(ag) wrote: Pathetic, some kind of romantic comedy. I can't see what all the students see in Hugh Grant's character. They are all over him like he is some gift to women.
(jp) wrote: i hate dramas. it wasn't my choice to see this....