Unfortunately, much of this back story comes from the worst character in the movie: Jezelle the psychic, who acts as a god awful exposition machine if there ever was one. The absolute invulnerability of the monster and its less-than-subtle methods makes it more of a Terminator and less of a typical “lurking in the shadows” type of slasher, which adds a frightening layer to the villain, as there’s no strength in numbers or safety in densely populated places. The Creeper, ignoring the fact that he was spawned from the diseased imagination of a convicted pedophile, actually has an interesting mythology built up behind him that could facilitate any number of prequels written for a period setting. Jeepers Creepers is mostly push and pull between fresh ideas and recycled ideas. Though the context behind Jeepers Creepers makes the film gross and unsettling in all the wrong ways, how does it stack up when separated from the writer/director’s checkered history? The Creeper is like Salva’s own self-insertion character if this were a fanfic, he’d be a “Mary Sue”. The only advice the psychic can give them is this: When the olde timey song “Jeepers Creepers” starts playing, s-t’s about to go down. In this case, it desperately wants a certain irresistible body part belonging to young Darry. The Creeper cannot be stopped or killed and nothing can prevent it from taking its prey. A local psychic (Patricia Belcher) reveals to the youths that the fiend that’s stalking them is a bizarre creature called the Creeper (Jonathan Breck) that comes out of hibernation every 23 years to replace its own body parts with fresh ones. Siblings Trish (Gina Phillips) and Darry (Justin Long) are on a typical drive through the remote countryside when BAM! A lunatic in a humongous, rusty truck starts psychotically harassing them.
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