Maybe I’m a bumbling fool to have forgotten to post this most excellent addition to Creature Features in Review…or perhaps a certain kind of mad genius. For those State-side and for those abroad, our neighbors to the north and our neighbors to the south, from the Atlantic to the Pacific (and it’s not all that terrific), the world awaits the inauguration of our (America’s) 45th President. Controversy. Disunity. Anger. Resentment. Strife. Uncertainly. It all feels at the moment to seep from the fabric of our country. That hidden fear of the unknown, the same fear H. P. Lovecraft spoke of in his many works, has captured, or should I say strangling, our attentions. This same mood thrives in the electrical grid of most Creature Features, especially Jeepers Creepers. There may be some criticisms and creepiness surrounding the infamous director Victor Salva, but separating the art from the artist, Jeepers Creepers (for me) is a perfect example of a modern American gothic tale. You can literally watch this movie in black and white and still enjoy it, probably more so. The moral compass of puritanism and rational versus irrational is present throughout the entire film. And it’s one of Justin Long’s best performances. Here to help us navigate these precarious times and this very precarious movie is our esteemed guest writer, Chad Clark.
By: Chad Clark
When Jeepers Creepers came out in 2001, the cinematic horror landscape seemed to be in an interesting place, and not all of it was necessarily good. My memories of this time period were of mainly reboots and PG-13 horror films. Other than Final Destination, there seemed to no longer be such a thing as horror franchises anymore and even in the case of FD, there had only been one installment. So it was within this environment that I was generally suspicious of Jeepers Creepers. The way it was marketed and the vibe I got from it was that this was just another glossy, hollow interpretation of what made horror movies great. I remember seeing ads for this while it was in the theaters but I wasn’t sold and gave it a pass.
Spoiler alert: that was a mistake.
I finally took the plunge with Jeepers Creepers, via the newly created online rental company at the time, Netflix. There wasn’t any streaming, only waiting for the physical DVD’s to arrive in the bright red celebratory envelopes. I was skeptical but to be honest, the first half hour or so of the film is one of the best openings I have ever seen. It starts out so innocently with a brother and sister leaving for the long drive home from school. Before they can get there, the movie takes a turn for the dark side and they quickly find themselves the target of a powerful creature that they don’t fully understand.
The monster in Jeepers Creepers is fantastic and it seemed like they took a lesson from Jaws in that we don’t see it in its full glory until late in the film. What is great though is that even seeing quick flashes of it early on, it’s still scary as hell. I love the image the brother and sister arguing and then the brother (Justin Long) sees this thing dumping what looks like human bodies down a huge pipe in the yard of an old church. By all appearances, it’s just a tall guy wearing an overcoat and a large, wide-brimmed hat, but the design of that costume is incredibly creepy and evocative.
The pacing of the movie is very well done as the monster proceeds to chase the two of them across a rural landscape. Along the way, they get some bits and pieces of information that may give them some insight into the thing and how powerful it is. But mostly, I think we just gradually figure out how screwed they really are. I can tell you this, before seeing this movie, I would have never guessed that the song, Jeepers Creepers would ever feel foreboding. That said, they managed to accomplish that very thing, to the point that I can’t help but think of the film whenever I hear that song.
The movie also has some pretty good acting, something that is occasionally glossed over in the horror franchise as being less important. The cast of actors was pretty much unknown at the time but I thought they all managed to fit in together pretty well. This was especially true with the main players, in that they managed to create two characters that I genuinely cared about and rooted for. It’s a cliché, but I felt like I was on the edge of my seat for these two all throughout the movie, all the way up to the ending, which was brutal and brilliant. I don’t want to give anything away but the movie ends with a slow zoom out to a point and a perspective that left me with my jaw hanging open. It really was that good.
I’m not normally a viewer who pays a lot of attention to things like costume and makeup but I thought they did a phenomenal job making the monster authentic and scary. In a world that was increasingly becoming about CGI, this was a monster that felt physically present and the makeup department did a great job bringing a feeling of grittiness and gore to the monster.
In short, if you are looking for a great example of the modern monster movie, I would definitely start with this one. Jeepers Creepers is a fun film that gives you all the visceral escapism that great horror movies should provide. I can’t recommend it enough.
There is an elephant in the room here, namely that of Victor Salva. He was the director of Jeepers Creepers. Salva was convicted early on in his career for child molestation. I am not going to go into the specifics of his crime. If you are already aware of it, I don’t want to take column inches rehashing common ground. And if you happen to be unaware of what he did, Google can get you there in less than a minute.
The reason why I bring it up is because it has been commonly argued that Salva’s movies should be boycotted. And I want to make sure one thing is clear before I go on to state my position on this. I think that what Salva did was despicable. In no way would I ever want to imply support for or endorse that kind of behavior. I want to make sure that is absolutely clear before I move on. I also believe that he should have received a harsher punishment. The sentence passed down by the court was laughable and that doesn’t even take into consideration that he didn’t serve the full sentence that he was given. I think that a reasonable case could be made for not allowing him to work in movies, mostly due to the fact that he used his power and position as a film director in order to do the things he did.
All that said, he was convicted in a court of law and he served the sentence that was passed down to him by our judicial system. I don’t think that this was right. I don’t think it was justice. And I absolutely support the victim and everything he does to try and make himself healthy again.
Still, I cannot bring myself to support the notion of a boycott, and my reasoning is as follows.
If there was a way to financially hurt Salva and only him, I think that would be one matter. But the fact is that when you were talking about a big budget Hollywood film, we aren’t talking about just Victor Salva anymore. There are literally hundreds of people employed in the process of developing and releasing a feature-length film. Obviously, there are the actors but also all the individual departments that are responsible for the physical look of the film as well as the process of filming. You have the people who spend countless hours with the actors in their studios applying makeup and costumes. There are the people who take the time to set up and dress the sets, keeping things in motion as production moves along. There are the musicians who develop a score for the film, one of the most important parts and record all of that music. Even the caterers who provide food and the marketing firms who promote the movies. There are a lot of people here.
I have always thought that directors got a little too much credit for what ends up on the screen. They function as an organizing force with a global perspective, but there are a lot of different people who work hard at the ground level to make that finished product. The director is responsible for the totality of the thing but it is rarely their hands actually on the product, crafting it. So if I felt like a boycott would be destructive to Salva and only Salva, I might be more inclined to go along. But because of the countless other people who worked their butts off in order to create this film, I can’t support it.
Jeepers Creepers is a brilliant film, and my compliments go to all the cast and crew that dedicated themselves to the creation of it.
Chad Clark is a frequent flyer here on Machine Mean. He has reviewed for us before with commentary on House of Dracula (1945) and House of 1000 Corpses. Mr. Clark is a midwestern author of horror and science fiction. His artistic roots can be traced back to the golden era of horror literature, Stephen King, and Robert McCammon being large influences. His love for horror began as well in the classic horror franchises of the eighties. He resides in Iowa with his wife and two sons. Clark’s debut novel, Borrowed Time, was published in 2014. His second novel, A Shade for Every Season was released in 2015, and in 2016 Clark published Behind Our Walls, a dark look at the human condition set in a post-apocalyptic world. His latest book, Down the Beaten Path, released in September 2016. You can keep up with all of Mr. Clark’s works by following him on Amazon here.
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January 20, 2017 | Categories: Horror, Movies, Reviews | Tags: American Gothic, Chad Clark, Creature Feature, Creature Features in Review, dark, dark fiction, fiction, film, film reviews, Gina Philips, gothic, Guest author, Horror, horror movies, horror reviews, Jeepers Creepers, Jonathan Breck, Justin Long, monster, monster movies, monsters, movie reviews, Movies, Patricia Belcher, Reviews, Victor Salva | 3 Comments
I just watched Drag me to Hell last night. Not my first screening, but the first since it was released back in 2009. And you know what, the movie is still entertaining. But with almost any movie, there’s a line between those who love it and those who hate it and there are moderates who thought the movie was…”uh, okay.” I’m not entirely sure how trustworthy Rotten Tomatoes is anymore with movie reviews, however, I still often jump over before writing my own review and was surprised to see the rating difference between critics and audiences for Drag me to Hell. Typically, when it comes to horror, audiences will on average adore the film while critics bash it to a pulp with a sledge hammer. Horror has never been a respectable genre of storytelling. When horror has been deemed worthy, the powers that be typically label the work as thriller or even…(gasp!) drama. Consider one of the most highly decorated horror film, The Silence of the Lambs (1991), which has sense been cast into the realm as “crime drama…” Seriously…a movie about a guy who eats people helping catch a guy who skins people in order to make a woman-suit is considered a “crime-drama,” a gene that includes all the Godfather movies, Heat, The Usual Suspects, Fargo, The Departed, The Dark Knight, Furious 7, Casino and just about every other gangsta movie? I think my point has been made.
And of course I’ve gotten waaaaay of track here.
Back to the critics verses audience reactions.
According to Rotten Tomatoes (carefully placed trust), the critics adored Drag me to Hell, giving the movie a whopping 92% “fresh” rating, while audiences seemed more ho-hum with a 61% “fresh” rating. Despite the movie review website’s precarious standing with most movie nerds, I’d say they pretty much nailed Drag me to Hell. Critics, for the most part, watched the movie for as it was, just another Sam Raimi flick with a smart story surrounding mortgage and recession and selling all your belongings and still not being able to afford to repay the debt. They saw Drag me to Hell as both entertaining and a bit tongue-in-cheek on the social commentary. Audiences were less enthusiastic. Based on some of the review and statements I’ve read, most of everyone had expected a return to form for Raimi, the genius who gave us the eternally awesome Evil Dead trilogy (The Evil Dead I & II, and Army of Darkness). According to on average audience repose, what they got instead of the expected “Evil Dead-” esk movie, was something more messy and less funny as Army of Darkness. Many believed the acting was cheesy, particularly with the casting of Justin Long. There was also more than desired amounts of CGI and pointless jump scares. My assumption with what disappointed audiences was the odd mixture of comedy and horror, for many the film failed to capture the classic formula of Raimi’s early romps.
Here’s a quick fire synopsis:
Christine Brown (Alison Lohman) has a loving boyfriend (Justin Long) and a great job at a Los Angeles bank. But her heavenly life becomes hellish when, in an effort to impress her boss, she denies an old woman’s request for an extension on her home loan. In retaliation, the crone places a curse on Christine, threatening her soul with eternal damnation. Christine seeks a psychic’s help to break the curse, but the price to save her soul may be more than she can pay.
Pretty much cut and dry. Nothing complicated, and considering the era of recession and people all over the United States losing their homes in the 2008-2010 mortgage crisis, pretty much on point with the troubles of the day and age. And when we stop and think about it, isn’t that what horror is supposed to do? To look outward at society and then bring those questions into the plane of fictionalized storytelling in order for us to embed those questions, to see them from another perspective? Well…I think its understandable why critics loved the movie. However, I’m still confused on why audiences were less enthused. For me, yes, the movie can be faulted on a few glaring issues. The ringer for me was the use of CGI. Thankfully, the use of CGI was limited to a few scenes, however, one of those sequences could have been wonderfully done with practical effects. The part when the gypsy is attacking Christine in the shed and the heroine drops an anvil on the old woman’s head. How much more wonderful had the scene been done with real practical effects… Personally, that is one of my few laments with Drag me to Hell. Otherwise, the movie, I thought, was fantastic. The opening scene is chilling. Demonic movies typically get under my skin, and not only watching this young boy, but listening to him being dragged to hell…well, I’m sure you can imagine. As for the comedy, Raimi has an interesting taste of balance. Though admittedly, there seemed to be far few laughs in this one then in his previous horror movies. And maybe we’ve discovered why most of the audiences felt the pacing was off, maybe they’d ventured out to the theater hoping to see the same gag level as Army of Darkness. But that’s not what Drag me to Hell was about, it wasn’t a spoof or even a satire. In fact, if we could gauge Raimi’s most beloved horror movies on a scale of satire, with The Evil Dead (1981) as a (at least) semi-serious film, all the way up to Army of Darkness (1992, and by-the-way, is labeled as fantasy…see! Just saying, horror gets not respect!), with The Evil Dead II (1987) somewhere in the middle, I’d say Drag me to Hell is just a tad below The Evil Dead II on a scale of comedy verses horror balance. There were some silly and over-the-top sequences, but the horror trumped the laughs.
This is of course just my opinion. If you haven’t seen this one, I’d definitely add it to the list of must watch Raimi pictures. Drag me to Hell was creepy, fun, gross, and socially imaginative.
My Review: 5/5
November 5, 2015 | Categories: Horror, Reviews | Tags: Army of Darkness, Demonic, Drag me to Hell, Horror, Justin Long, mortgage crisis, movie review, recession, Reviews, Sam Raimi, social commentary, The Evil Dead | Leave a comment