‘Candyman’ Review: Who Can Take a Sunrise and Sprinkle Blood on it?


The hooked ghost Candyman first came to the big screen in 1992, and he was making mincemeat from people at Cabrini-Green, a troubled public housing project in Chicago. Since then, residents have left (or moved) and more than a dozen buildings was grounded. Memorable sequels have come and gone, too, but Candyman insists that cult movie characters are a more permanent and certainly more valuable commodity than affordable housing.

Written and directed by Bernard Rose, the original “Candyman” is more depressing than frightening, but truly painful. The son of a formerly enslaved man – Tony Todd plays the demon title – was once punished by racists for loving a white woman. Now he’s busy slicing and dicing his callers. Just look in a mirror and say your name five times (oh, keep it up) and wait for the blood to gush. Among those who returned during the day was a white doctoral student who became a fiery victim. The pain wasn’t perfect, as Candyman had promised, but it had its moments.

In the sharp, wobbly iteration directed by Nia DaCosta, Candyman seems to have taken a break. The time is now and the place is the spark plug community that has developed around Cabrini-Green. There, in stylish towers with designer kitchens and windowed walls, the noble pioneer sips his wine while enjoying the view. Beyond that, the city shines beautifully and its ills are at a safe distance (though not for long). While the restless camera watches the scene, Sammy Davis Jr. — A black civil rights touchstone became a supporter of Richard M. Nixon — reveals his sticky hit in the 1970s “Candyman” (“Who can take/dream about tomorrow.”) It is a cunning reminder and warning that the past always troubles the present.

Sometimes the past bites into the present where it hurts, and soon the opening serenity is violently upset. As the blood starts gushing and the body count increases, the story takes shape, as does the somewhat tense home life of an artist Anthony (a very good Yahya Abdul-Mateen II) and a curator named Brianna (Teyonah) for short. Paris). They soon learn that Candyman never leaves (well, he is a worthy franchise property). Enter the frights, screams, and anxious laughter, and the indispensable Colman Domingo, who emerges with a Cheshire cat grin. There are also flashing police lights, which are not as nice as they can be anywhere else.


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