Oh,
goody, previews! He typed
ominously...
Our
rental tape wheezes to life with a few
coming attractions, and since I can't find
the remote to fast forward through them,
let's see if they're any good:
First
up is Beverly
Hills Brats,
and if you've ever wanted to know what
happened to that kid who played Ralphie in
A
Christmas Story,
well, he's the star of this thing and we
haven't heard from him since -- if that
gives you an inkling to it's quality. The
film also boasts Martin Sheen, Natalie
"Mrs. Thurston Howell" Schaefer
and the big screen debut of Ramon Estevez
-- who eventually dumped his dad's
original first name and went with his own,
Emilio. Next up is Let's
Stuff Stephanie in the Incinerator,
which is from our friends at Troma, and it
might be about a family of serial killers,
or maybe a Tupperware party gone horribly,
horribly wrong. I'm not sure. There was
another preview, about growing up in the
'60s and stealing a Cadillac to drive to
California where all problems can be
solved in about 90 minutes, but I finally
found the remote and zapped through it. Whew.
Made it.
And
now Our Feature Presentation...
So,
when our feature film finally cues up,
we're back in the familiar territory of
the swamps and marshes of southern
Arkansas, where a narrator (Charles
B. Pierce) waxes philosophically
about the eerie serenity of the wetlands
while giving us the nickel tour. But all
this natural serenity comes to a
screeching halt when a large, primordial
creature covered in long, coarse hair
wanders into the scene near a river,
starkly out of place against this
backdrop. This is the legendary monster of
Boggy Creek; a bigfoot like creature that
has haunted the area around Fouke,
Arkansas since the 1940s but has proven
even more elusive than its cousin of the
Pacific Northwest. And
while the narrator ponders if this
creature is real or just myth, upstream, a
deer comes out of the forest to drink.
Then, when the deer decides to go for a
swim and cross the river, if you look real
close, it appears to me that there's
something looped around the buck's neck,
meaning it isn't swimming -- but
being drug across the water by the neck!
This
distressed deer only gets about halfway
before being forced into a holding pattern
so we can spy a bubbling disturbance -- as
if something was breathing under the water
(...or
passing gas, perhaps?)
-- chugging right toward it. Using the
ominous soundtrack as a hint, we can
deduce that whatever's causing this isn't
some friendly beaver, and when the
bubbling wake
overtakes the tethered deer -- that has
now magically changed to a dead-deer
carcass -- the animal gets thrashed around
until a large clawed hand comes out of the
water, causing the deer to change form
again, this time into a fake, prop-head,
that pukes up a vomitous cone of blood as
the monster finishes throttling it, and
then slowly drags the prey underwater.
Then, all is silent as the water's surface
turns placid -- until the deer's
dismembered head bobs back to the
surface!
Cut
to the shoreline, where we see the monster
come out, dragging the bloody carcass
behind him into the trees. And when
you combine that bloody opening (--
where I suspect that at least three deer
were sacrificed to get that sequence),
with the full on and unadulterated view of
the guy in the monkey suit, we already
know we are in for a far different kind of
film than
the first Boggy Creek movie. Is abandoning the
documentary style of it's predecessor to
the film's detriment? Well, that remains
to be seen, but judging by what we've
seen, this could get seriously ugly pretty
damned quick.
Our
story proper picks up at the University of
Arkansas, where we find Dr. Brian Lockhart
(Charles
B. Pierce) at a football game,
cheering on his beloved Razorbacks. A
professor of anthropology, Doc Lockhart
has a keen interest in the mysterious
swamp monster. And when he receives word
from Tim Thorne (Chuck Pierce --
and if you're thinking nepotism, you're
spot on right), one of his grad
assistants, that there has been a rash of
recent sightings of the creature,
Lockhart, who firmly believes in the
creature, decides it's time to lead an
expedition into the swamps to get proof of
the creature's existence. With that, Lockhart,
along with Tim, Tonya Yazoe (Serene
Hedin), another grad assistant, and
her "citified" friend, Leslie
Walker (Cindy Butler), load
up all kinds of sensors and scientific
equipment into their jeep (--
but note not one single camera),
and with a camper in tow, head out to the
swamps and the monster's old stomping
grounds.
Stopping
at a general store in Fouke so Lockhart
can get some ammunition for his rifle,
when the clerk asks if they're all going
camping, Lockhart
admits they're actually monster hunting.
This brings a fit of laughter from the
locals gathered there, who all clamor
there ain't no such thing, or point out
that drunks, kooks, and city-folk wanting
to get their names in the paper are the
only ones to have seen this so-called
monster. In response, the scowling Lockhart
gives them all a stare of self-righteous
indignation that would cower Moses
himself, and when another local pipes up,
saying maybe
they ought to get a monkey suit and raid
the college-boy's camp, Lockhart's
indignation boils over into full blown
hostility as he warns them that he
believes in the monster. In fact: the
beast scares him, and who knows, he might
be so scared that he'll shoot anything
that even remotely resembles a monster if
it gets close to his camp. Sweeping the
room with his death-scowl one more time to
punctuate that threat, Lochhart takes up
his ammunition and leaves.
And
if you listen real close, there, Doc,
you can hear them locals [rightfully]
calling you an asshole, and debating on
whether to break out their own shotguns
and pay house call on your camp anyway
-- without a monkey-suit.
Leaving
those unbelieving heathens behind, the
troupe drives on until Lockhart
tells Tim to stop at the next farm, which
belonged to W.L. Slogan, who had a close
encounter with the creature some 30 years
ago. And while Lockhart recounts the
story, someone
smears mayonnaise all over the lens,
triggering a myopic flashback where we spy
Slogan bringing his cattle in for the
night. When he hears something in the barn
and takes a look inside, the opposite barn
door is open, and there, silhouetted in
the light, is the monster watching him!
Startled, Slogan beats a hasty retreat.
The
story done, the group heads on down the
road, when suddenly, Tim slams on the
brakes to avoid a deer carcass in the
middle of the highway. As
Lockhart
and Tim drag the deer off the road before
someone has a wreck, upon closer
inspection, they notice the deer's head is
missing and something has been gnawing on
the remains. Was it a bobcat? Or was it
the creature? Cue ominous music!
Ominous
music being Don Music banging his head
on an old Casio keyboard for awhile. I
wish I was making that up.
After
Lockhart's
crew finally finds a clearing and makes
camp, later, around the campfire, as Tim
sketches the creature (--
and we really wish Tim would keep his
shirt on because he appears to have a
third nipple that's a little distracting),
Lockhart
says it's an accurate rendering, which
scares the (--
and the movie can't stress this enough --)
citified Leslie. But country-gal Tonya (--
rather disturbingly --)
finds the thing sexy ... And we're not
even going to touch that, and we'll just
allow that statement to stand on its own
merit ... Because of all the rain they've
been having lately, Lockhart
is confident that they might find the
elusive creature. Noting that the creature
has never been spotted during a drought,
he theorizes that when the river floods
the lowlands, it drives the creature out
to higher and dryer ground. And with no
time like the present, he loads everybody
back in the jeep so they can get
acquainted with the area.
Now,
remember how I was complaining about
Tim's shirt earlier? Yeah, well, I'll
withdraw that if Lockhart will stop
wearing those disturbingly short shorts.
Those things are reserved for little
Japanese boys named Kenny who befriend
giant, fire-breathing turtles -- not
middle-aged men who should know better.
People usually rag on '70s fashions, but
the stuff we wore in the '80s wasn't
much better. In other words -- Lockhart
act your age and put some *&%$ing
pants on fer chrissakes!
First
stop is an abandoned homestead, where the
crew head for the derelict house to
investigate -- but are interrupted when a
rabid dog bounds out of the woods and
attacks them! And do these geniuses run
for the jeep and escape? Nope. They run
into the abandoned house. Well, Lockhart
does go to the jeep and gets his pistol,
and pops off a few rounds at the dog but
misses rather badly. (Don't bother
to aim or anything. Sheesh.) As the
foaming dog lays siege to the house,
despite it's decaying brain, it
continuously outwits our heroes. (And
talk about faint praise...) Even
when he aims, Lockhart
proves a terrible shot, and as I counted
his rounds, expecting the six-shooter to
magically reload itself (--
because there was no way in hell he had
any spare ammo in those *ugh* tight
shorts),
this scene drags on and on ... until the
dog goes underneath the house, causing Lockhart
to use up the rest of his ammo blowing
holes in the floor. Then, as I waited for
the magic seventh, eight and ninth
bullets, Lockhart
ceases fire and orders Tim to check the
closet to find something to cover the now
gaping holes in the floor. But Tim, being
the idiot that he is, mistakes the back
door for the closet, opens it wide, and
comes face to face with the frothing dog.
Throwing him out of the way, when Lockhart
pulls the trigger (-- and I'm just
as shocked as you are), the gun
clicks empty! Letting the dog back him
into a corner, Lockhart watches as the
others scramble out of the house and make
it to the jeep. Worthless Tim grabs the
rifle, then returns to the house and
manages to shot the dog just as it lunges
for Lockhart.
Leaving
the sick and mortally wounded dog to
slowly bleed to death on the floor, they
solemnly vacate the premises. (I'm
sure only after Lockhart gave it one of
his long, patented death-scowls.) Upon
their return to camp, citified Leslie has
had enough and wants to head back to town
and sleep in a hotel. Breaking out another
righteously indignant death-scowl,
Lockhart quickly cowers her, claiming he
never promised that this would be a
picnic, before returning to his notes and
records. Going
over the countless incidents with the
usually docile creature, Lockhart is
puzzled by the circumstances of the Otis
Tucker incident...
...We
break out the mayonnaise-cam again and spy
Tucker, happily trundling down a back road
until his truck suffers a blowout. After
breaking out the jack, as he starts to put
on the spare, Tucker starts to hear some
strange noises. As he shines his
flashlight around, he doesn't see
anything. But that's because the monster's
was right behind him! (Cue
ominous music sting! Thank you, Don.)
Slowly Tucker turns, and then screams as
the monster lets out a wurbeldy-gurgle
and attacks him...
...Lockhart
says no one knows for sure what really
happened to Tucker as he never regained
consciousness after being found, and then
died two days later at the hospital. With
his wallet was still on him, robbery was
ruled out, but something caved his skull
in and tipped the truck over, off the
jack, and into the ditch. (One
more time with that ominous music sting!)
With
the sun starting to set, it's finally time
to rig-up all those fancy sensors and
computer equipment the expedition brought
with them. Establishing a 200-meter
perimeter of sensors around the camp, all
tied into a computer in the camper, which
in turn acts as a radar station and picks
up anything that moves within range, Lockhart
sends Tim and Tonya out in opposite
directions to test the equipment. Sure
enough, two blips appear on screen as
Lockhart
explains to Leslie (and
the audience)
how the sensors are calibrated for certain
weight specifications, which is why they
don't pick up birds, raccoons and curious
possums. After ordering his two guinea
pigs back to camp, as Lockhart watches the
corresponding blips get closer to the
center, a third blip suddenly
appears and starts zeroing in on Tonya's
position -- and whatever it is, it's
really big and moving really fast!
Outside, tension
mounts as a heavy breathing, POV-shot
closes in on Tonya, and as their blips on
the radar grow closer and closer together,
Lockhart grabs his pistol and heads out to
intercept the bogey. But by the time he
reaches Tonya, the big blip has
disappeared, leaving behind only an acrid
smell.
Night
falls, and while Lockhart watches the
radar, the big blip returns. Waking
everyone up, they watch the screen as the
thing circles the camp: Closer ... and
closer ... and closer still! What was that
noise?! GAH! What? Who turned out the
lights? Okay, Who forgot to fill up the
generator? TIM?!? As the camp is
plunged into darkness and panic ensues,
Lockhart orders the girls to stay inside
while he and Tim take care of the
generator. (And
please try and get some gas into the tank,
there, Tim.)
Soon enough, the generator sputters to
life but the flickering floodlights reveal
the creature, towering above some small
trees just outside of camp, staring right
at them! Lockhart
stares back in awe, and then begs the
creature to talk to him. The
monster screeches and grunts a reply, but
as it starts to move forward, Lockhart
fires his shotgun at the looming menace (Huh?
I didn't know they made tranquilizer
shotguns?) Though the creature
roars in pain, the tranquilizer dart has
no other effect, and after plucking it out
of his chest, the creature storms off into
the trees and is quickly out of sight.
The
next day, the group heads back to town so
Lockhart can interview a Sheriff's deputy
about a more recent encounter. And since
everyone's still pretty tense over the
previous night's harrowing encounter,
Lockhart tells them about an encounter
with a more comical nature...
...As
the trusty mayonnaise-cam takes us into
the home of Oscar and Myrtle Colpotter,
inside, Oscar's looking for the Sears
catalog because he's got to take a massive
dump and needs some reading material to
pass the time. When his wife tells him
it's on the back porch, we get to follow
Oscar, with the catalog now in tow, all
the way to- and then inside the outhouse. (Thank
you, movie.) We
are then treated to Oscar's noisy bodily
functions as he drops a deuce and drools
over the female underwear models. (Again.
Thank you, movie.) Thankfully,
something sinister starts scratching at
the door. Of course, Oscar thinks it's
Myrtle spying on him -- until the monster
smashes in the door! He manages to beat
the creature off with the catalog, but
gets his foot stuck in the crapper hole in
the process. Drawn out by the ruckus,
Myrtle spies the creature running away,
and then helps Oscar out of the hole and
starts to hose off his feces-saturated
leg...
...The
story brings a laugh out of everyone, but
Lockhart
admits the story might not be valid
because Oscar was known for a bad drinking
problem. (Ha-Hah!
High hilarity. Poop jokes never fail.
*sigh*) Sending
the others on for more supplies, Lockhart
interviews the deputy alone, who relates
the tale of how he came home from fishing
one day after catching the limit. When his
wife ordered him to clean the smelly fish
away from the house, he headed over to the
garage, where he was brutally attacked by
a ferocious creature. Well, make that
a midget in a monkey suit that someone
threw on top of him. After the two wrestle
around for awhile, the deputy finally
bucks him off. But the nasty little
critter steals the cache of fish, and then
runs to a bigger critter waiting a few
yards away. Stupefied, the deputy then
watched as the big critter picked up the
midget critter, slung him over his back,
piggy-back style, and loped off into the
woods. Swearing
that the little critter was amazingly
strong, and that he needed several
stitches in his back after the close
encounter, the deputy also asks if
Lockhart has spoken to old man Crenshaw
yet. Seems this Crenshaw has lived on the
bottoms all of his life and has reported
numerous sightings of the creature. Told
Crenshaw also claims the beast is
super-fast and a great swimmer, Lockhart
promises to check in with him as soon as
possible.
Later,
at the camp, Lockhart has just about had
it with Leslie's whining and complaining.
Ordered to stay in camp while he and Tim
go out looking for the monster -- mostly
to just get away from them for awhile, after
the men leave, Leslie talks (--
well, more like scares --) Tonya
into taking the jeep and driving her back
to town. But along the way, the girls not
only manage to get lost, but bury the jeep
in a mud bog as well. As
the sun sets, the girls are still
screaming at- and blaming each other for
their current predicament, and when
Lockhart and Tim return to camp, they find
the girls and the jeep gone. After
several
hours pass, the men are still waiting, the
girls are still bickering, and the jeep is
still stuck. Also of note, the
hard-breathing POV has showed up again.
As
for me? Well, I've concluded that this
movie needs more midget monsters. A
whole horde of them, plowing over Doc
Lockhart and his hi-falutin, fiery gaze
of indignation and death scowl. Then,
these midget monsters should pummel him
into something that resembles a wet
prune. Serioiusly: this guy couldn't
lead an expedition to find his own ass
-- even if he had a map and one hand in
his back pocket. And Leslie and Tonya
might as well take their catfight
outside and start wrestling in the mud.
That would be cool. Well, that, and
everybody still needs to put some
@*&#ing regular pants on. Okay,
where were we ...
After
consulting the owners manual, the girls
finally decide to try the front mounted
winch to get the jeep unstuck. Spooling
out the cable, they even manage to get it
hooked onto a tree and start winching the
vehicle out when Leslie spots the monster
watching them. Terrified, the girls
abandon the jeep. Back
at the camp, Lockhart spies a familiar
blip on the radar headed their way. Tim
thinks it might be the creature, but
Lockhart has other ideas and tells Tim to
just play it cool and wait. Sure enough,
the girls drag themselves into camp, and
after relating their encounter with the
creature, Lockhart starts to fire up his
indignant glare again -- but then reels it
back in; the girls have been through
enough tonight.
The
next morning, the expedition moves on to a
small resort area along the river to rent
a boat to go and see old Crenshaw. (And
the resort looks just like the Lost River
Lake from Piranha.)
While they negotiate for a rental boat, we
watch a bunch of swimmers frolicking in
the water. But what's that in the
background there? Uh-oh ... A
familiar, bubbling wake is heading right
toward the swimmers. (I wonder if
they're tethered?) Delightfully
unaware that something is lurking underneath
them, one of the swimmers finally spots
the bubbling trail. And what's causing it
finally breaks the surface -- but it turns
out to only be a young hooligan in a
fright mask. With that interlude safely
tucked away, Lockhart and
his crew putter out onto the river, where
they are harassed by some clown on a
jet-ski. As he circles them, Tanya encourages
him on until he finally peels off and
heads back. But we spot another bubbling
wake crossing his path, and when the
jet-ski hits something, the rider falls
off. And frankly, I'm not sure what
happens next. Either the monster is
closing in on him as he desperately tries
to get back to the jet-ski, or this moron
just isn't a very a good swimmer. I don't
know. You be the judge. Regardless, he
gets away.
And
at this point I realized this movie
managed to rip-off JAWS,
JAWS II, JAWS
III,
Up From the Depths and Piranha
all in the last five minutes. That's
gotta be some kind of record.
Eventually,
Lockhart finds Crenshaw's shack but no
one's home. As they look around, a big,
hairy and surly looking brute lumbers into
view, and since he's wearing a pair of
one-strap overalls, I'm gonna assume this
is Crenshaw and not another monster. Fearing
they're Revenue men from the government,
Crenshaw (Jimmy
Clem) holds a shotgun on them,
promising if they are G-Men, he'll shoot
them all on the spot and bury the bodies
in the swamp. After Lockhart assures him
they're from the University, on a field
trip to gather information, the brutish
bumpkin apologizes and assures everyone
that his bark is much worse than his bite.
He then invites them all to sit a spell,
and
also offers everyone a plug of chewing
tobacco and a drag off his moonshine jug.
Only Tonya accepts. Crenshaw is
immediately smitten with her but she's
soon turning green and runs off to hurl
her cookies after consuming the noxious
concoction. While she barfs, Lockhart
starts asking questions about the Boggy
Creek monster. A forthcoming Crenshaw
claims they're regular visitors around his
place, and he can't get no sleep because
of the racket they make. But
Crenshaw is obviously preoccupied with
something, but Lockhart can't quite figure
out why. The others want to head back but
a bad storm is brewing on the horizon and
it won't be safe to be on the river when
it hits. Crenshaw offers his house for
shelter but he must tend to his fires and
starts stacking huge piles of wood.
Herding the others inside, Lockhart airs
his suspicions. There's plenty of evidence
that this isn't the first night for these
huge bonfires, but Crenshaw won't reveal
what he's so afraid of as he douses the
wood with gasoline.
As
the sky grows black and thunder and
lighting start to rumble and flash
overhead, Crenshaw asks Lockhart if he's a
real doctor that can patch people up.
Explaining that he isn't that kind of
doctor, Crenshaw takes Lockhart away from
the others and makes a sales pitch, saying
they can make it rich because he knows how
to catch the creature. Intrigued,
Lockhart asks how. Crenshaw answers by
opening the door to a side room, revealing
the midget creature lying on the floor in
a heap. Allowing Lockhart to examine it,
Crenshaw confesses that he caught it in
one of his traps a few days ago, and now
he wants to cash in. Only then does Lockhart
realize what the bonfires are for: They're
to keep the bigger creature away from it's
offspring. The little creature before him
appears all but dead, but Crenshaw orders
Lockhart to fix it -- or else. Told that
they need to get it to a real doctor (--
or at least a vet),
Crenshaw says there's no time because the
sun's gone down, and then leaves to tend
the fires. When the fires are lit,
Crenshaw takes up
his shotgun and stands a vigil by the tree
line. And it isn't long before everyone
spots the creature lurking about.
When
the storm breaks, the torrential rain
quickly douses the fires. Now unhindered,
the monster closes in. As Crenshaw
retreats toward the house, Lockhart greets
him with his pistol and forces him to hand
over the shotgun. He then orders everyone
back inside the house, where he gives Tim
the shotgun with orders to watch Crenshaw.
Outside, the big creature starts to pound
on the front door down, and is it quickly
splinters apart, Lockhart retreats to the
other room and cradles the little creature
in his arms just as the big creature
finishes off the door.
Hoping the beast understands what he's
doing, Lockhart gives the little one back.
(No harm, no foul, right? Besides,
it was Hillbilly Jim over there. Rip his
head off. You can rip Tim's head off, too,
if you want. And that stupid city girl
too.) Accepting its offspring, the
creature then quickly retreats back
through what's left of the door and
disappears into the storm.
The
next morning, while the others pile into
the boat, Lockhart has a final chat with
Crenshaw. Apparently, the big galoot has
seen the error of his ways and admits
Lockhart was right -- the creature needs
to be left alone out in the wild. The two
shake hands before parting. And while the
intrepid Lockhart expedition putters back
up river, their fearless leader has a few
ponderings of his own to leave us with: He
has no intention of telling anyone about
their encounter with the creature and its
offspring; and it's not because he fears
no one would believe them; he fears those
who would believe and come out here
like they did, looking for proof. No. He
wants to help keep these creatures a
mystery. And they aren't monsters, really.
They're just another part of nature, and
are meant to be left in the wild just like
God intended.
Amen,
you self-righteous turd. Feh.
And
as the end credits roll, we see the two
creatures, fully recovered and frolicking
around the woods, to maim and kill all
unsuspecting motorists who're just trying
to change their flat tires.
The
End
Aarrrgh!
But this movie makes my head hurt!
You
know something, I really enjoyed The
Legend of Boggy Creek. If you
haven't read that review or seen it yet,
it's a pseudo-documentary feature on
Arkansas very own Bigfoot, and that film
is really compelling and authentic for the
first two-thirds, when it uses
testimonials and re-enactments of
encounters with the beast. And whether you
believe in such things or not doesn't
matter, because the film is so sincere it
puts the hypno-whammy on you and will have
even the harshest skeptic believing in the
possibility of such things. But when the
last third of that film concentrates
completely on the creature's attack and
siege on the Ford family house, the film's
spell is broken. It's no longer a
documentary, or mockumentary, or whatever,
at that point, but a monster movie with a
really bad gorilla costume. I love and
champion monster movies -- especially
monster movies with bad gorilla costumes
-- but with such a great build up, the end
of The Legend of Boggy Creek is a
big let down.
Texarkana
film titan Charles B. Pierce wrote,
produced and directed both of these films,
and everything he did right for the first
one, he ignored and made his second effort
an outright monster movie. The monster's
costume is a vast improvement on the
original, but that's the only thing better
about the sequel. It's bad, it's plodding,
and it's horribly padded, and the only
thing more atrocious than the dialogue is
the ability of the actors executing those
lines, making for plenty of laughs to be
had at the film's expense. So,
with all these grounds for high hilarity,
what it is it about this film that just
rubs me the wrong the way?
It's
pretty simple, actually, as all of it
boils down to Boggy
Creek II
basically coming off as a 93-minute vanity
project for Pierce. No ... Not a pet
project he earned, or his special vision
that he wanted to get onto the screen. No.
This is a personal piece of vanity for
Pierce himself. Seriously; the
entire film has him prancing around like
God's personal instrument of bad
filmmaking. Pierce had just come off
co-writing the Dirty Harry sequel, Sudden
Impact,
and this carries over to Boggy
Creek II,
where
his fiery, self-righteous glare and death
scowl is only the tip of the iceberg.
Strutting around the swamp in form fitting
clothes, waving his big pistol around with
a macho swagger that doesn't fit his
stature, Pierce projects that his sh*t
doesn't stink, he knows it, and he'll
gladly tell you why. There's just an
oozing attitude that says, Since I'm in
it, this turd-burger of a movie is
suddenly gold plated. And his script
allows him to act like a complete and
total schmuck, but it doesn't matter
because he's the hero of the film and
justified moral center. Why? BECAUSE HE
WROTE IT THAT WAY! That
may sound kinda harsh but it's true. I
honestly think Pierce has some real talent
as a director, cinematographer, and
storyteller, but he has no business being
in front of it as an action hero. (Or
odious comedy relief for that matter. See The
Town That Dreaded Sundown
for further proof.)
The rest of the cast consists of
his son and several regulars from his
other productions, but they don't fare
much better -- except for Clem, who steals
the show as the surly bumpkin.
The
film does overachieve in spots, and even
has a few suspenseful turns as Pierce
tries to recapture the magic of the first
film with the flashback sequences. But the
mayonnaise covered camera lens kinda ruins
it, and when they end we're still left
with the lame framing device. With its recent
exposure on Mystery Science Theater
3000, if you've only seen Boggy
Creek II, I
beg you to track down and give the
original The
Legend of Boggy Creek
a chance. Boggy
Creek II
is a fine turd-burger of a movie with lots
of stuff to poke fun and groan at. I don't
know if it's as painful as I've made it
out to be -- or if it just caught me on a
bad day, or what, because I seem to
remember liking this movie a lot more when
I first saw it.
Oh,
well.
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