'Candyman' review
Scream 4
, it is a decades-later follow-up that, partially out of a need to “play the hits,” doesn’t feel like it takes place decades later. Sure, part of the point is how little has changed for the Black community, which is what gavemovie set in and around Cabrini-Greens, and there’s little that this new movie has to say which wasn’t previously said sans the yellow highlighter in both the 1992 and the mid-1990’s sequels.
We get a new origin story for a new Candyman, in this case a 1970’s “death by police” murder involving a man handing out candy to kids. However, the explicit placement within the world of the first film leaves us wondering how Sherman Fields’ unjustified “murder by cop” will connect with Daniel Robitaille’s horrific “death by honeybees” legend. While Michael Hargrove makes for a compelling shadowy threat, the film’s continuity keeps us wondering if and when Tony Todd is going to show up.
Alas, the film isn’t scary, the violence isn’t jolting, and the story lacks both urgency and proactive agency. The characters are barely sketched-out, with only Anthony getting anything approaching depth.
That “cool for the trailer” sequence’s lack of impact on the broader story highlights how nothing matters beyond the confines of Anthony’s quest to defeat or become the new Candyman. Like too many IP revamps , this film feels smaller and more narratively claustrophobic than its cheap-in-its-day predecessor. To be fair, the film is a visual delight, even if the plotting lacks urgency and energy amid its mostly point-and-cut filmmaking.
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