One of the few salvageable elements Jeepers Creepers: Rebirth, Timo Wuorensola, lies in the intriguing use of metafiction. In the script, written by Sean-Michael Argo, the titular monster is part of the collective imagination. So much so that it’s an urban legend that draws fascination at themed festivals and the entire subculture surrounding the horror genre.
At the same time, ironically, the feature films that make up the original saga are known as fiction. An obvious reference to cry which tries to show that this version of the famous horror is aimed at a new generation.
So, Jeepers Creepers: Rebirth It spends the first few minutes establishing context. The main characters learn a legend about a terrible winged creature that appears from the ground every 23 years. They just don’t believe in him and don’t imagine his existence other than as inspiration for the costume.
Jeepers Creepers: Rebirth
Timo Wuorensola’s Jeepers Creepers Rebirth is trying to revive the original trilogy after a pedophilia scandal that surrounded its former director and screenwriter. But the result is so bad, poorly constructed, and worse told, that it ends up being an almost parodic imitation of the first film. The apparent drastic reduction in the production budget turns the film into a failed experiment. From poor quality digital effects to clumsy lighting. The feature film fails to achieve anything other than the first part, in which it resembles the mythology of the franchise it comes from, only to decay to an absurd and chaotic end.
Jeepers Creepers: Rebirthcontinuation of the saga
Something that gives the story a chance to establish its connections with a known monster without resorting to other resources than explanatory conversation. Jeepers Creepers: Rebirth begins with an introduction designed to summarize all the information the story has to provide, and which is reminiscent of the already classic opening minutes of the original film, in which Darry (Justin Long) and Trish (Gina Phillips) stumble upon a creature.
But the promising first minutes immediately turn into a plot turmoil, surprising with its clumsiness. lane (Sydney Craven) and chase (Imran Adams) cross an unnamed country road that will soon become a horror arena. Especially when it becomes possible to meet the true being who gave the name to the myth they ridiculed.
A saga that falls into a spiral of errors
At least that’s what the movie is trying to tell by wasting what sparse vibe it got by mimicking the iconic episode. little by little Jeepers Creepers: Rebirth it aims to be a funny and cheesy repetition of a more complex story. The feature film wants to replicate the phenomenon of the horror film, which accurately bases its effectiveness on plot tension and the use of special effects to build a story around what it can hide.
Jeepers Creepers: Rebirth try the same narrative trick Candyman, created by Nia DaCosta, in which the central myth was created as part of a larger event. The legend is, or tries to be, a resonator for fears, phobias, and traumas. Also, how the realization of the existence of a terrible being can become a terrifying dimension of reality.
However, the plot cannot cover everything it claims, including the life cycle of a monster, without falling into absurdity. From the road, the lead duo begin a long escape sequence that includes everything from planted fields to the house that will be the final setting.
Failure Jeepers Creepers: Rebirth
However, the change of scenery only makes it harder for the film to explore the primal fears it intended. Darkness, stalking and claustrophobia become useless ideas as the plot Jeepers Creepers: Rebirth it gets slower and repeats. Again and again poorly edited sequences that half show the creature condensing into a blind battle with a flimsy opponent.
The main monster, designed for a less sensitive audience, is a pathetic imitation of the original creature. But the costume – also handmade and with a less human mask – is overdone and notoriously unreliable. In fact, one of the biggest problems with the film is the poor visual quality, which ends up being almost parodic.
With lighting that turns chases and fights into a mess, Jeepers Creepers: Rebirth becomes difficult to understand. In the middle section, the film turns into a fruitless journey through dusty, dimly lit rooms and corridors. A disappointing duel that ends in a predictable ending.
A missed opportunity for terror
It can be seen that the film is trying to create its own context. In particular, moving away from the original trilogy, buried under allegations of pedophilia by its previous director and screenwriter Victor Salva.
But the narrative experiment fails to the extent that Jeepers Creepers: Rebirth It doesn’t add anything new, other than making it clear that it has nothing to do with the embarrassing event that happened off-screen.
Source: Hiper Textual
