Director Nia DaCosta’s Candyman is too aware of the legacy (and ironies) of its predecessor’s premise. Read our review of the remake starring Yahya Abdul-Mateen II and Teyonah Parris
urban gentrification. The newis aware of that failure. It’s also aware that the upwardly mobile Black professional class is not blameless in sustaining it — and that the artists among that class are in a peculiar, double-edged position, trapped in the crosshairs of a predominately white art world that exploits the raw material of their lives while subject, for mobility’s sake, to participating in their own exploitation.
Where do you go from there? What’s initially interesting about DaCosta’s movie is that its hero, Anthony, is a little hard to like, and that the franchise’s signature mirror, for this particular man, is both an opportunity — take a good, hard look at yourself, guy — and a curse. Anthony is complicated: a little full of himself, a little too willing to cop to the wrong demands.
is too aware of the legacy of its predecessor’s premise. In trying to wrestle with that premise, the movie falls right into its own traps where the original toed a curious line; it overreaches, most prominently for relevance, to the point of raising questions about whether the movie understands its own, initially provocative, questions.
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