Review: “Candyman” may be the wittiest movie about artists, curators, dealers and gallery owners since “Six Degrees of Separation,' writes JoeMorgenstern
Urban legends are what they need to be, stories that evolve, morph or mutate to fit the times they’re told in. The first fine idea in “Candyman,” a pop-culture prodigy that calls itself a “spiritual sequel” to the 1992 slasher classic, is the seductive elegance of its physical setting. Gone are the grim concrete barracks of Chicago’s Cabrini-Green housing project, once haunted by fear of a ghostly Black avenger with a hook for a hand.
The second stroke of inspiration is relocating the story to the glitter and babble of the art world. The artist finds the theme that will consume him, compulsively recapitulating Helen’s quest for the source of the Candyman legend—we know who Anthony is if we remember the original story.
“Candyman” may be the wittiest movie about artists, curators, dealers and gallery owners since “Six Degrees of Separation.” When Anthony synthesizes the mythical elements of the Candyman tale—the hole in the wall, the mirrors, the medicine cabinet—into “Say My Name,” a startling installation with a clear reference to the Black Lives Matter movement, a condescending white art critic, Finley Stephens , has nothing good to say about it.
Whether or not this new “Candyman” proves to be eternal—the film has its flaws, narrative jangles and loose ends—Ms. DaCosta and her colleagues have gone far beyond Chicago’s posh precincts in amplifying the meaning of their source material.
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