When thinking of the famous horror icons, we often think of Freddy Kruger, Jason Voorhees and of course Michael Myers. Every now and then you’ll hear people throw in a Ghostface, Chucky and Pinhead but Freddy, Jason and Michael might be considered the triumvirate of the legendary horror icons. However, there is one that is definitely regarded as a celebrated horror idol and that would be the infamous Candyman. Some will say its a classic and some will say the 1992 Candyman is a cult classic, but it’s not as if the Candyman movies aren’t near the quality of some of the Friday the 13th movies or even the first Halloween movie when the first Candyman is held as the best one when there had only been three of them (not including the most recent one). Although, the legacy that Candyman has had with society is the game itself where a group of people (or perhaps one individual) stand in front of a mirror and say his name a total of five times. It’s a hoot, even knowing that nothing will happen, but it’s nice to know that despite a generation of people who haven’t seen the Candyman movies, the name itself has a good chance of ringing a bell in someone’s ear. Now this Candyman movie is serving as a direct sequel to the 1992 film, thereby retconning anything that had happened in the other two movies, which is also total fair for the audience to look it at this “sequel” as a reboot, while still paying homages and expanding the scope of this world that’s already been established. But because of COVID, Candyman had an insufferable time of being pushed and delayed several times as an exclusive theatrical release. The original Candyman is a solid horror flick. Nia DaCosta’s Candyman is the best one that’s come out since. Candyman is an exceptional piece of horror. It’s depressing, brutal and sadistically violent, that also add a powerful layer devastation to our characters and the internal struggles that come within. The level of atmosphere and antagonistic nature to this movie is unlike any recent slasher flick that comes to mind. Nia DaCosta adds so much more to the mythology and scope of Candyman, while also sticking back to a gruesome and blood thirsty slasher fest.
Set in the present day, Anthony and his girlfriend, Brianna, move into a loft in a now refurbished Cabrini, when about a decade or so ago was completely torn down. Working as an artist, Anthony has the chance to confront the story behind the legendary and notorious Candyman. Eagerly to apply these aspects for his next big project in the world of art, Anthony unreservedly opens up a door to a problematical life that starts to jeopardize his own and let loose a massive gesture of savagery.
Having the knowledge and the appreciation of any franchise that has a sequel or a reboot coming out will always provide a stronger attachment. Clearly, if one were to go into this Candyman having not seen any of the other movies they obviously won’t have any baggage, positive or negative. Nevertheless, this reimagined version of Candyman works as its own magnificently. Having not relied on any of the previous films, Nia DaCosta’s Candyman offers a more deep and innovative perspective with the lore by bridging a gap with the generation that grew up with Candyman and the fresh new faces that experience it for the first time. The marketing for this Candyman is suggested to act as a “spiritual sequel” to the 1992 cult film, which feels more appropriate considering that the merits, mythology and characters feel different but the story and conventions would rely on the sequel elements. Unlike the 1992 film, DaCosta dives way more into the social commentary and thematically what Candyman has always been about. The ideas of an artist become so self obsessed with their work and having that reflect the tautness of them. She handles the subjects and topical moments artistically and sharp edged.
Nia DaCosta is also a scholar at capturing horror and some unforgettable deaths. As. a horror director, Nia DaCosta latest feature film doesn’t feature a single moment of unnecessary and empty scares. There’s some brilliant shots that are perfectly staged and highly effective. The stylization of the kills, however, are absolutely striking. Seeing Candyman in his prime traits, with the prosthetic hook and his ambient swarm of bees, as ruthless supernatural force has never been this effective in any of the other Candyman movies. Some of Candyman’s strongest moments are when DaCaosta lets Candyman go loose on its victims and having him as a form of unknown terror. The violence in this movie is a force to be reckoned with and it also feels unstoppable.
Candyman is both a sequel, reboot and modernization that pays sincere respect and homages to the 1992 cult classic but broadens to world and the mythos of Candyman. Nia DaCosta should be given more work ahead and luckily she’s doing a Marvel movie. How bout that?
My grade for Candyman: A-
Zane's take at the Cinema's 