Ever since the cryptic marketing campaign for Osgood Perkins' "Longlegs" helped make that film a surprise summer hit , the filmmaker's new home at Neon has treated Perkins' subsequent releases with as much ballyhoo as they can muster. Calling Perkins the new William Castle would be inaccurate, yet the marketing surrounding his post-"Longlegs" films this year have included concepts in the tradition of the horror ballyhoo master . After stunts like a bus full of "dead cheerleaders" being driven around Hollywood were used to promote this past February's "The Monkey," Neon and Perkins dialed things way back with "Keeper." Instead of the usual press and media rollout, they've chosen to keep the majority of the movie wrapped in near-total secrecy, implying that the horrors which lurk wit

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