It’s a well-established fact that Jeepers Creepers is a film of two halves, one which is totally effective and creepy (pun not intended; the perfect word for Jeepers Creepers’ opening act really is: creepy) and one which is totally derivative and hokey. There’s a simple reason: Jeepers Creepers is not just a film of two halves but of two competing and diametric impulses: one is concerned with human psychology (because its purpose is to creep insidiously into audience imaginations); the other is concerned with horror monster mythology and with physical and literal horror monster details. It turns out that these impulses are not compatible.
Warning: contains extensive spoilers.
Last year director David Robert Mitchell offered It Follows as a counterpoint to horror films in which the horror monster’s identity or motive or relationship to the protagonist is the film’s point and soul. To put it another way, the appeal of many horror films is calibrated towards that one moment in which the killer pulls off his mask or the protagonist discovers the truth of what she’s fighting.
It’s strange to think that there was once a time when The Walking Dead’s aversion to the ‘z’ word was a Hot Topic. For people who don’t know what this means:
The Walking Dead was conceived as ‘apocalyptic zombie horror drama’. It was – and continues to be – marketed as such. For many people the programme’s initial and major – for some people its only – appeal was the promise of hordes of shuffling, iconic, undead monsters.