Victor Salva
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Shades of Steven Spielberg’s debut film “Duel,” they’re pursued by a mysterious truck with shaded windows.
Jeepers Creepers is an old-fashioned spooker that owes as much to Steven Spielberg's Duel as it does to Tobe Hooper's The Texas Chainsaw Massacre .
While yet another rip-off of Steven Spielberg's "Duel" - much like the upcoming "Joy Ride" - the early moments are nevertheless still rather effective.
In a scene reminiscent of Steven Spielberg's "Duel", the truck tries to run them off the road, terrifying the pair and leaving them to puzzle over its bizarre number plate: BEATINGU.
They're in the middle of nowhere when an old, driverless truck tries running them off the road an obvious suggestion that writer/director Victor Salva has seen Steven Spielberg's career-establishing, behind-the-wheel suspense drama Duel a couple dozen times.
Admittedly, the first third of the film is somewhat tense, though it borrows heavily from Steven Spielberg's "Duel," as well as "The Texas Chainsaw Massacre."
Creature from the Black Lagoon (1954)
Directed by Jack Arnold
influenced Jeepers Creepers (2001)
Visuals
The chase scenes are reminiscent of Duel; the bloody scene set in backwoods police station may remind you of Assault On Precinct 13; and the killer himself is a Frankenstein of everything from Leatherface to the creatures in Gargoyles (with a little Creature from the Black Lagoon thrown in).
Someone must have grabbed the costume out of wardrobe storage for the “Creature from the Black Lagoon” and given it a face-lift along with a set of wings to think that it would scare the audience.
Night of the Living Dead (1968)
Directed by George A. Romero
influenced Jeepers Creepers (2001)
Plot Themes
From that point on, the rest of the film follows the "Night of the Living Dead" and "The Terminator" plots of people trying to flee from an immortal being that's determined to find and kill them.
The movie is part urban legend, part horror comic book, with subtle nods to "Night of the Living Dead."
The first "movie" is very reminiscent of all of my favorite horror films, from Phantasm to Psycho to Night of the Living Dead to Rear Window to Silence of the Lambs to The Texas Chainsaw Massacre.
Genre fans will find plenty to gnaw on: The opening scene brings to mind the 1977 auto-schlocker The Car, while later passages obliquely reference everything from The Texas Chainsaw Massacre to the beloved but little-seen Seventies TV movie Gargoyles.
This is basically the dirty old man version of "The Karate Kid".
Director Victor Salva combines the Zen story of finding ones’ soul with the master/student sentiment of “The Karate Kid.”
One of the most flat-out strange items to come along the pike in a while, “Peaceful Warrior” desperately tries to tell an inspirational story of spiritual awakening but winds up coming off like an overtly homoerotic riff on “The Karate Kid” coated with a gooey glaze of holistic hooey that make the gibberish spouted in “What the #$^@ Do We Know?” seem sound and rational by comparison.
Peaceful Warrior is The Karate Kid set in the world of gymnastics.
This might please the director's psychologist (or parole officer) but it won't sit well with anyone with absolutely no interest in revisiting American Anthem or The Karate Kid all over again, only this time pumped with laughable horror-film pretenses.
The idea of a wacked-out truck driver who menaces a motorist or two is hardly new: Steven Spielberg treated the idea brilliantly in his 1971 ABC telefilm, and Victor Salva got good mileage out of the concept in the first part of the recent “Jeepers Creepers” (though that movie fell apart in the later stages).
Meanwhile, Powder comes across as a cross between Cliff Robertson's " Charly ," the Elephant Man, Mr. Spock, E.T. and Jesus.
The clinical twistedness of David Cronenberg and the ready chills of 2001's smashing creature-feature " Jeepers Creepers " converge in "Splice," a barrier-breaking mixture of sci-fi, horror and romantic drama that takes its inspirations seriously even as it goes off on its own wildly creative tangents.
The first "movie" is very reminiscent of all of my favorite horror films, from Phantasm to Psycho to Night of the Living Dead to Rear Window to Silence of the Lambs to The Texas Chainsaw Massacre.
The Texas Chain Saw Massacre (1974)
Directed by Tobe Hooper
influenced Jeepers Creepers (2001)
Themes
It blends the postmodern sensibility of Wes Craven's slasher satire and the rawness of Tobe Hooper's "The Texas Chain Saw Massacre" to fearsome effect.
O filme esquece do assassino por mais de meia-hora, com apenas algumas menções e a câmera de Green sendo apontada vez ou outra para um cano, onde provavelmente Jeepers Creepers deixa seus corpos, ou para um mendigo insano que se auto-denomina Michael Myers.
As far as the film's few other parts, Eileen Brennan ("Private Benjamin," "Clue") is appropriately spooky as an older lady the siblings encounter, but Patricia Belcher ("Heartbreakers," "Message in a Bottle") comes off as second-rate playing a psychic who's "seen" the upcoming mayhem.
With Ma , director Tate Taylor could have tried to get at the spectre of black motherhood that haunts American cinema, especially American horror, traced from the likes of Chloe, Love is Calling You (1934) to the mystical conjure women in Ghost (1990), Jeepers Creepers (2001) and so on.
Una delicatessen que, utilizando las formas del cine de terror basado en leyendas urbanas, aquel al que pertenecerían títulos como Pesadilla en Elm Street (Wes Craven, 1984) o Jeepers Creepers (Victor Salva, 2001), en realidad escondía un duro drama psicológico protagonizado por dos personajes, una madre y un hijo, emocionalmente desestabilizados.
The work of writer/director Victor Salva ("Nature of the Beast," "Powder"), the film tries to use the Oscar nominated title song - first heard in the 1938 film "Going Places" and which contains the familiar refrain: "Jeepers, creepers, where'd you get those peepers?
In fact, it seemed to have much more in common with the monster from Jeepers Creepers (2001), especially when we see it in its lair in the nether world the movie calls “The Further.”
There’s a scene in Café Society, Woody Allen’s umpteenth film, in which a nightclub entertainer sings the Louis Armstrong classic Jeepers Creepers.
An American Werewolf in London (1981)
Directed by John Landis
influenced Jeepers Creepers (2001)
Themes
These B grade films range anywhere from An American Werewolf in London to Bride of Re-Animator to The Creature From the Black Lagoon to Fright Night to Pumpkinhead.
But, with the benefit of hindsight, one can appreciate a certain level of swing-for-the-fences abandon: the blackly comic excess of the Final Destination series, the supernatural wildness of Jeepers Creepers, the in-your-face William Castle Remakes House on Haunted Hill and Thirteen (er, Thir13en) Ghosts.
Becky Demuth (Laysla De Oliveira) and her noxious older brother Cal (Avery Whitted) are speeding their way through some “Jeepers Creepers” territory when we first catch up with them.