This Candyman review may contain minor spoilers…
2021’s Candyman reimagining/sequel is a movie befit for the present day. It’s a mostly well-balanced mix of social commentary and horror that can be heavy-handed at times. However, its message will surely resonate with viewers – and the scares don’t get lost in the shuffle.
At this point, it’s obvious that Jordan Peele knows what he’s doing with horror. As producer, his influence here is clear. Candyman has hallmarks of his previous cinematic triumphs Get Out and Us. But it’s director Nia DaCosta who brings it to life with gorgeous artistry. Moreover, her direction makes this film well worth the price of admission. Even if it occasionally struggles under the weight of its themes.
Candyman review: Plot
Candyman begins decades prior to the film’s contemporary setting. Police are hunting for a man named Sherman Fields (Michael Hargrove). Fields – the police believe – has been giving children candy containing razor blades in the Cabrini-Green projects. As he had previously been known for handing out candy and having a menacing hook-hand, he was a natural suspect. His “Candyman” nickname didn’t help, either. One day, a young boy has a frightening, albeit misunderstood, run-in with Fields. This culminates in his death after he is brutally beaten by police.
In the present day, we’re introduced to uninspired artist Anthony McCoy (Yahya Abdul-Mateen II) and his girlfriend Brianna (Teyonah Parris). Brianna is an art gallery director who tries her best to support Anthony in his pursuits while attempting to progress her own career. They live in a lavish apartment together in Chicago. One night, they host Brianna’s brother Troy (Nathan Stewart-Jarrett) and his boyfriend for dinner. Troy tells a spooky story of Cabrini-Green maniac Helen Lyle who tried to sacrifice a baby and died on a bonfire. This sparks Anthony’s creativity and he is immediately drawn to learn more.
As he begins to investigate, he is led to the Candyman myth. He decides he is going to develop an art exhibit about the urban legend. This sets him on an irreversible downward spiral as he becomes increasingly obsessed. Things only get worse for Anthony when a bee sting results in a bizarre physical reaction which slowly takes over his body.
Body horror over jump scares
It’s fair to say that most of Candyman‘s scares are derived from the body horror aspects of Anthony’s decline. There are minimal jump scares. Instead, DaCosta has opted to exploit the audience’s expectations of what’s coming – and delivers on them. You could describe the film as somewhat predictable, however there’s nothing wrong with a plot progressing exactly as it logically should. And watching Anthony peel his crusty, rotten skin back and Candyman linger in a mirror’s reflection is far more effective than a sudden loud bang coupled with a close-up camera shot.
As I’ve already mentioned, Nia DaCosta’s direction is a delight throughout. It’s subtle and artsy but not pretentious. Every shot feels deliberate and slick. This, paired with superb but infrequent use of animation, make it a pleasure to sit through.
Candyman review: An unmistakable message
As Anthony falls further down the rabbit hole, he uncovers the truth about Candyman. I won’t spoil it here – but the film gives Candyman a purpose far above just murdering helpless idiots who say his name in the mirror. He’s more of an avenger of sorts, created by more than a century’s worth of barbaric prejudice. But he does still murder random people, too.
The whole backstory for Candyman is summarised in a single scene – and it’s clear from that moment what DaCosta and Peele are telling us. The social commentary – while important and powerful – was a little too blatant. And it didn’t make a whole lot of sense given what we’ve seen from the Candyman before. Its inclusion, however, is admirable and will get viewers thinking at the very least.
Cast and performances
Across the board, Candyman‘s performances are strong. Brianna’s increasing concern for Anthony is believable, as are her frustrations with him. Teyonah Parris doesn’t over-egg it and strikes an appropriate tone throughout. As does Yahya Abdul-Mateen II, who conveys Anthony’s descent into madness and transformation into monster with understandable stress and confusion. If anything, the film’s cast would’ve benefitted from more time on-screen to explore their characters. But it was all neatly compacted into this 90-minute presentation for better or worse.
Verdict
If you enjoyed Get Out and Us, you’ll surely find something to love about Candyman. Its message may be too on-the-nose for some, but that doesn’t make it any less worthwhile. And its scares – while subdued by the standard of modern horror films – are effectively creepy and cerebral. Much as the original Candyman is still celebrated all these years after its release, I suspect 2021’s Candyman will be held-up as an exemplary reboot others will seek to emulate.
Overall Rating: 8.5/10
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