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Jeepers Creepers 2 (2003) Metro-Goldwyn-Mayer 1 hr. 41 mins. Starring: Jonathan Breck, Justin Long, Nicki Lynn Aycox, Ray Wise, Billy Aaron Brown Directed by: Victor Salva Jeepers Creepers 2 Rating:  
E-MAIL GIANCARLO DE LISI As with most mysterious and questionable entities, once the source of information is revealed, vigor and unconditioned appeal seems to be always lost. This was the case with the first ‘Jeepers Creepers’ directed by quiet and amicable Victor Salva. The first film was a jolt of entertainment as an axe-wielding super-villain havocked a small town. With some superb lighting (no doubt thanks to Producer Francis Ford Coppola) and certain shots of ‘The Creeper’ against the backdrop of the moon that would make you tremble, the sequel to the original is a quiet and pleasing horror film that does not mock the horror genre. The original was more of a treat as mystery and suspense kept the film going until the origins of the mystifying ‘Bat out of Hell’ (the film’s original title) character was revealed. Not human, nor animal, it is an unexplained phenomenon that rises to the earth every 23rd year for a feeding frenzy. ‘Jeepers Creepers 2’ occurs immediately following the first film as ‘The Creeper’ has one night left before returning to the center of the earth for hibernation. This being said, the ludicrous back-story might seem farcical, but it would have been a far worse film than if Salva actually took this film seriously. This second film strays from the character’s original genesis and Salva (Director and Screenwriter) infuses some personality (perhaps a little too much) into ‘The Creeper’. It smiles, has a perverse sense of smell and can actually experience pain in this piece. Despite the ultra-cool ‘leather jacket and winged’ look of the villain, this film is basically a B Movie as was the first. The only difference is that MGM Studios, who despite being in financial trouble (save when a James Bond film is released) are still a recognizable movie-house, bankrolled it. The first film set itself in a lowly, desolate and haunting area where ‘The Creeper’ would prey on unsuspecting victims. In this second installment, a bus full of bickering, testosterone filled high school teenagers return from a basketball game and encounter a blown tire due to the felonious ‘Creeper’ who shot their tire out with a mechanism made from the body parts of other victims. For a film that sets itself on a dark highway - in a school bus for a majority of the film – it is entertaining. What boggles the mind is how Salva seems to be inexplicably ideologically bankrupt as he decided to set the film on a pitch black highway in the middle of the night on a bus of all places – thus restricting the possibilities of certain sequences. As a filmmaker looking for something fresh, I respect Salva’s decision to take the ‘one step backwards, two steps forward approach’ he utilizes for leaving another sequel wide open, but his non-formulaic film appeases lightly while always leaving the audience wondering – what if it was a different premise? Granted, it did occur immediately following the first film and there were imposed and inherent limitations set because it occurs in one night, but Salva does not strike out. Where the admiration arises for the filmmaker, is that despite this weak plot, Salva maintains enough rigor and entertainment value to keep you glued for the duration of the film. Where Salva does sell-out is with the character of the Creeper. Fans who wanted more out of ‘The Creeper’ get a host of memorable scenes that satiate their appetite. In my opinion, the beauty of the first film is the manner in which the development of ‘the Creeper’ was crafted. It was done as a slow and malicious endeavor as not much information was revealed except for the end. In this film, information for the ‘new-bies’ to the series comes in the form of dreams to one of the teenagers in the bus, who informs all as to the conditions of this creature. Salva fully exposes ‘The Creeper’ resulting in the mysteriousness and appeal it had in the first film is lost as too many close shots of his cryptic face are implanted on the screen for moments on end. Salva seems to have neglected his Hitchcockian stylings within the first film and goes ‘full throttle’ with giving the attention-deficit disordered Hollywood audience what they want. One such sequence is when ‘The Creeper’ actually points out who his next victim as he hangs upside down on the back of the bus guiding his finger to his next victim. Or how about when he receives a javelin stick through his cranium and is forced to sacrifice the left side of his head in order to pull the stick out. Salva’s script is filled with memorable sequences and enough lighting tips from Producer Francis Ford Coppola you think you were watching ‘The Godfather 4’ on some shots of ‘The Creeper’. Mixed into the script are some racial undertones as black and white basketball players argue about who got the most playing time because of their skin color while attempting to evade ‘the Creeper’ in the middle of a chase sequence. Alternatively, how about the vengeful father (Ray Wise) who loses his son to the menace in the opening sequence only to return as a hero in the end to seek justice? Salva tries to pack in as much eye candy and gore as possible, and while the film is not a complete hit, it does not miss by any means. As far as contemporary horror films go, it is by far one of the better ones available to screen. (N.B.This film was screened at the Montreal Fantasia World Film Festival as actor Ray Wise was in appearance. The most gracious actor presented the film and kindly answered questions upon its’ completion, making it a real treat for the over 700+ people who waited in line as I did to catch the film.. Furthermore, as he played the vengeful father who ultimately rids ‘the Creeper’, the crowd applauded feverishly as he took it to the villain on every occasion. Our thanks to Ray Wise for coming to Montreal and presenting the film.) Click here to comment on this review or post your own thoughts. Giancarlo De Lisi © TheWorldJournal.com |
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