The Jeepers Creepers franchise began with a bang in 2001, capturing the imaginations and nightmares of horror fans with its introduction of the Creeper, a demonic entity that awakens every 23 years to feast on human flesh. Directed by Victor Salva, the original film stood out for its eerie atmosphere, relentless suspense, and the enigmatic terror of the Creeper, portrayed by Jonathan Breck. It struck a chord with audiences, becoming a sleeper hit and grossing over $59 million worldwide. The sequel in 2003 continued to build on this mythology, focusing on a group of stranded teenagers and further cementing the Creeper as a formidable horror icon despite mixed reviews. However, the third installment in 2017 signaled a steep decline, with a disjointed narrative, lackluster special effects, and a failure to capture the franchise’s original suspense and terror. Despite these ups and downs, the franchise’s enduring legacy and dedicated fanbase prompted a reboot with Jeepers Creepers: Reborn (watch it HERE). The announcement of this new film sparked hope for a revival, especially with the fresh creative vision promised by new director Timo Vuorensola. However, this latest film has not only failed to revive the franchise but has also plunged it into deeper disarray, alienating long-time fans and failing to attract new ones. Let’s find out if this rebirth of The Creeper is worth breaking out cigars over as we find out what happened to Jeepers Creepers: Reborn.
The Jeepers Creepers saga began in 2001 and was directed by Victor Salva, an actual creeper. It was a fresh, terrifying entry in the horror genre, drawing comparisons to classics like Duel. With a modest budget and a compelling premise, the film became a sleeper hit, grossing over $59 million worldwide. The sequel, Jeepers Creepers 2, continued the story and expanded the Creeper’s mythology. Set during the last day of the Creeper’s 23-day feeding frenzy, it focused on a school bus full of a high school basketball team stranded on a remote highway. It was an interesting idea, drawing inspiration from Jaws and Hitchcock’s Lifeboat. I have a fun little side story about this film. I actually auditioned for the part of nerdy kid Andy Buck. My audition seemed to have gone well, but then I decided to be a know-it-all and drop a little knowledge for the filmmakers. Having just graduated from high school, I told them they might want to change the script since the story takes place in the spring, and high school basketball is a fall/winter sport unless the director was keen on having a large number of shirtless jocks in the film. The casting director agreed, and I didn’t get the part. Oh well. Despite mixed reviews, it performed well at the box office, cementing the Creeper’s status as a horror icon. In 2006, a third film was announced. However, unable to find financing, MGM backed out. After a long hiatus, the third installment, Jeepers Creepers 3, was released in 2017 without the involvement of Francis Ford Coppola, the producer of the first two. This film, set between the events of the first two movies, failed to capture the suspense and terror that initially captivated audiences. Plagued by a disjointed narrative and poor special effects, it signaled a decline in the franchise’s quality.
The journey to the rebirth of the Creeper began in 2018 when the film was first announced. However, it faced several delays, largely due to legal issues surrounding Victor Salva. Salva’s criminal past, involving a conviction for sexual misconduct with a minor in 1988, resurfaced and created a backlash against his continued involvement in the franchise. This led to the decision to distance the project from Salva, both creatively and in terms of promotion. Enter Timo Vuorensola, a Finnish director known for his work on the cult sci-fi comedy Iron Sky, to helm the project. His appointment was seen as a chance to revitalize the series with a new creative vision. The script was penned by Jake Seal and Sean-Michael Argo. Reborn is Seal’s only writing credit, but he produced Jeepers Creepers 3 as well as Willy’s Wonderland. Sean Michael Argo also doesn’t have much to his name other than low-budget sci-fi films. The idea was to set the film at a horror festival, tapping into the meta-horror trend. This concept, while innovative, proved challenging to execute effectively. The script attempted to weave in self-aware horror elements, but the result was a disjointed narrative that failed to build tension or deliver effective scares.
The cast includes Sydney Craven as Laine and Imran Adams as Chase, the central couple attending the ill-fated horror festival. Craven is known for her work on the BBC TV series EastEnders as well as appearing in the 2023 horror comedy Slotherhouse. Adams only has five credits to his name, mostly British TV work like the series Ghosts. Despite their potential, their performances were hampered by a lackluster script and underdeveloped characters. The supporting cast featured a mix of festival-goers, including a horror vlogger and various other attendees, who served primarily as fodder for the Creeper. The characters lacked depth and emotional resonance, making it difficult for audiences to invest in their fates. However, the most well-known cast member is Dee Wallace, who appears in the film’s opening segment.
The movie follows couple Chase and Laine as they head to the Horror Hound festival in BFE Louisiana. Chase, a paranormal enthusiast, is especially fascinated by the local legend of The Creeper, who has been dormant for the past 23 years. During a stop at a gift shop, Laine experiences a disturbing premonition upon touching a mysterious artifact. The shop owner, Lady Manilla, cryptically warns them about the Creeper. At the festival, Laine picks up a supposed weapon of The Creeper and discovers an unexpected skill in throwing it. As the festivities continue, the Creeper arrives, knocking out the internet and beginning its hunt for fresh victims. Chase and Laine win a raffle for a night at an abandoned plantation house, now an escape room, hosted by festival organizer Madam Carnage. As they prepare to visit the house, Laine starts having visions of herself in a ritualistic scenario.
Joined by a cameraman, his crew, and local tour guide Stu, the group heads to the plantation. They pass through an old graveyard where the Creeper ambushes them, killing the cameraman and kidnapping Laine just as Chase proposes. Laine wakes up bound on a table, her abdomen pierced by the Creeper.
Inside the house, chaos ensues as the group argues over their predicament. Stu fires his pistol, attracting the Creeper’s attention, which leaves Laine and hunts the rest through the house, killing everyone except for Chase and Stu. Laine manages to free herself and reunites with them, revealing her pregnancy and the Creeper’s specific interest in her.
They uncover a horrifying truth: Madam Carnage, Lady Manilla, and others have been worshiping the Creeper and luring victims to the house for its feeding. Determined to survive, they devise a plan to lure the Creeper outside. Laine blinds the Creeper with the shuriken, and Chase and Stu push a weathervane onto it, impaling the monster. A murder of crows descends, consuming the Creeper and inadvertently killing Stu by pushing him off the roof.
As Chase and Laine leave the scene, thinking the ordeal is over, the film closes with the Creeper regenerating and unleashing a chilling roar, hinting that the terror is far from over.
As with many film productions in recent years, Jeepers Creepers: Reborn faced significant delays due to the COVID-19 pandemic. Filming locations and schedules had to be adjusted to comply with health guidelines, adding to the already complicated production timeline. This disruption further hampered the creative process, forcing the team to make compromises on set designs and special effects.
Timo Vuorensola approached this project with all the finesse of a sledgehammer. The pacing was erratic, the scares were telegraphed from a mile away, and the tension was non-existent. Vuorensola, appeared to struggle with transitioning from sci-fi comedy to horror. His direction failed to capture the suspense and atmosphere that are crucial for a successful horror film. The cinematography by Simon Rowling did nothing to elevate the material. The festival setting, which could have been a vibrant, chaotic backdrop, was instead a murky, poorly lit mess. The Creeper’s scenes, intended to be the highlight, were shot with such incompetence that it was hard to discern what was happening. The creature’s design, which once had a primal, almost Lovecraftian appeal, now looked like something out of a cheap Halloween store.
In an era where even low-budget films can achieve decent special effects, “Jeepers Creepers: Reborn” seemed determined to buck the trend. The CGI was laughably bad, making the Creeper look like a Halloween store mask. The effects fared no better; gore and creature designs that should have been visceral and terrifying came off as amateurish and uninspired. The soundtrack, much like the rest of the film, was a cacophony of missed opportunities. There was no memorable score to speak of, just a series of generic, uninspired tracks that failed to build atmosphere or tension. Sound design, an often-overlooked aspect of horror, was equally lackluster. The Creeper’s growls and the screams of victims were mixed in such a way that they became grating rather than terrifying.
The movie was only released in the US in September 2022 for only a few days, although it was supposed to be released a year prior. The production company behind the previous two entries, Myriad Pictures, filed a lawsuit against Infinity Films Holdings, claiming the film was made without Myriad’s knowledge. A trial was originally set to begin in January 2024, but as of now, the case is still pending.
Setting the film at a horror festival could have been a stroke of genius. The meta-narrative potential, the opportunity to play with horror conventions and audience expectations, was immense. Yet, Jeepers Creepers: Reborn squandered this potential at every turn. The festival, rather than being a lively, engaging setting, became a backdrop for a series of uninspired kills. The Creeper, a character that once held a place in the pantheon of horror icons, was reduced to a joke. There was no mystique, no terror, just a tired monster going through the motions. The film’s attempts to delve into the Creeper’s origins and motivations were half-baked and unnecessary, stripping away the enigma that made the character interesting in the first place.
Every now and then, a film comes along that’s so bad it’s good—a true masterpiece of unintended comedy and cinematic ineptitude. Think of Tommy Wiseau’s The Room with its bewildering dialogue and earnest yet incompetent performances. Or Neil Breen’s Fateful Findings, a surreal trip through the mind of a filmmaker who defies all storytelling conventions. These films cross into the realm of cult classics because their failures are endearing, their sincerity palpable. Jeepers Creepers: Reborn, however, barely skirts this line. It flirts with unintentional comedy but never fully commits. It’s not enjoyably bad; it’s just bad. There’s even a scene in the movie where Laine constantly enters the room in a new outfit that was straight out of a 90s flick. The only thing missing was the song by Right Said Fred.
Given the overwhelmingly negative reception, the future of the Jeepers Creepers franchise is uncertain. While there is always the potential for a more competent filmmaker to step in and restore some dignity to the series, Jeepers Creepers: Reborn has undoubtedly left a sour taste in the mouths of fans. It’s a reminder that reviving a franchise requires more than just a recognizable monster; it requires a genuine understanding of what made the original films resonate with audiences.
So, do yourself a favor. Skip this one. Go back and watch the original Jeepers Creepers, flawed though it may be, and remember a time when the Creeper was a figure of genuine terror. Because Jeepers Creepers: Reborn is a resurrection that should never have happened. In the grand tapestry of horror cinema, this film is a stain that only reminds us of what could have been. It’s a movie that fails on every conceivable level, a disastrous attempt to cash in on a legacy that deserved better. As horror fans, we can only hope that this misstep leads to more thoughtful and inspired contributions to the genre in the future.
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