Jeepers Creepers, which was released in 2001, established some basic facts about the winged monster, the most important being that it eats every 23rd spring for 23 days. This sequel, however, is not set in 2024 but on the last of the 23 days and parallels the events of the first film on the dreaded East 9 Highway in Poho County: On the same stretch of road, a bus carrying high school students returning home from a championship game become stranded when two tires on the vehicle blow out. It's not an accident but the work of the Creeper (Jonathan Breck), who then returns to the crippled bus to feast on its passengers. After the driver and coaches get picked off, the kids, like savory sardines in a tin box, are left to fend for themselves. The only clue they have as to what's going on is through cheerleader Minxie (Nicki Lynn Aycox), who has a dream in which Darry (Justin Long)--the lead character from the first film--warns her of the Creepers intentions. The group's only salvation is a local farmer (Ray Wise) looking to avenge his son's demise at the hands of the Creeper. Fraught with fright flick clichés, Jeepers Creepers 2 is not as intelligent as the first and the elements that made the original so compelling--the suspense, drama and the emotional investment in its characters--are definitely lacking in this sequel.

Director John Carpenter creates an old-fashioned campfire ghost story with THE FOG. Antonio Bay, a quaint, small seaside town is celebrating the 100th anniversary of its founding. That night a heavy, mysterious fog rolls through the town and people begin to die in savage ways. Rumors of a secret as old as the town begin to surface and the people of Antonio Bay realize they are victims of long dead sailors who have come to revenge their own murders at the hands of the town's founding fathers. The townspeople can only wait for the fog to roll in and pray that they are not the next to die. Carpenter creates a chilling film with THE FOG and gets fine performances out of Adrienne Barbeau, Hal Holbrook, and the fog itself, which creeps and crawls around as if it were alive. The film elicits its scares out of what is not seen rather than what is, and Carpenter exploits that style perfectly. Vauge shapes move within the fog, while strange noises heard in the distance grow louder, and no one can say exactly what they are up against. THE FOG is one of Carpenter's earlier films and helped to establish his reputation as a master filmmaker.