Synopsis:
For as long as residents can remember, the housing projects of Chicago’s Cabrini-Green neighborhood were terrorized by a word-of-mouth ghost story about a supernatural killer with a hook for a hand, easily summoned by those daring to repeat his name five times into a mirror. In present day, a decade after the last of the Cabrini towers were torn down, visual artist Anthony McCoy (Emmy winner YAHYA ABDUL-MATEEN II; Watchmen, Us) and his partner, gallery director Brianna Cartwright (TEYONAH PARRIS; WandaVision, If Beale Street Could Talk), move into a luxury loft condo in Cabrini, now gentrified beyond recognition and inhabited by upwardly mobile millennials. With Anthony’s painting career on the brink of stalling, a chance encounter with a Cabrini-Green old-timer (COLMAN DOMINGO; Zola, Ma Rainey’s Black Bottom, If Beale Street Could Talk) exposes Anthony to the horrific true story behind Candyman. Anxious to maintain his status in the Chicago art world, and spurred on by his white art dealer, Anthony begins to explore these macabre details in his studio as fresh inspiration for paintings, unknowingly opening a door to a complex past that unravels his own sanity and unleashes a terrifying wave of violence that puts him on a collision course with destiny.
There are many different cultures, minority cultures specifically, within our society with wonderful people attached to them. However, there is a tendency for those same people to have their culture borrowed, emulated, and stolen from while simultaneously being disrespected and hated by those who want to be a part of the cool. Those same thieves will package and sell your traditions, customs, food, dress, dance, and music back to you, but previously told you how repugnant they were. Moreover, they hate the way you speak but want the slang, hate your skin but want its benefits, and say they love you until you love one of their own. The want and need to be accepted is the most difficult and dangerous game you could ever play and you didn’t get to choose your player. And it’s not l to be accepted as a person of your culture but simply as a human being. Fortunately, not everyone is filled with hate, but history has left unwashable stains on the shirt and tie of the universal power suit our society claims to wear. Sadly the effects are still being felt. That said, we will continue to overcome, set trends, and break barriers. Those who are true allies and those who are working towards creating change, you are appreciated. We have work to do as well.
“They love what we make, but not us.”
Say it! Say it five times, I bet you won’t in Nia DaCosta’s Candyman. This retelling is more than an urban legend and more pointed than before. While this is technically a sequel to the 1992 film, the story is rather similar. The difference lies in the perspective. This time around the story is told through the eyes of a black man, while its predecessor follows a white woman. It now hits a little harder and means more since its setting is the now gentrified inner city of Chicago. There is no guessing as to what the film is about or the message it wants to convey at all. It tells you in a very exact and direct way what it wants you to think about and take away from it. This is not attempting to make Candyman an iconic character, because he already is, rather it’s expanding and expounding upon his legacy. Moreover, this film is the controlled sun-hot flame burning within a marginalized community. It’s a reminder that everything is not okay. It’s a not-so-subtle shout that says, you can try to move on but we will never forget and won’t be erased. And you will reap what you sow. Messaging aside, the film does have its flaws. It missed some opportunities to ramp up the slasher aspect of the film.
The storytelling felt rushed and I never quite felt the love connection between its two lovebirds. The lack of love takes away from what the story was to become. Nevertheless, the haunting mood is prevalent, the tension is mounting, and the visual and psychological scares aren’t scarce but are a bit more on the eerie and macabre side rather than terrifying. With themes, of gentrification, art, and racism this may not be a film for those who can’t handle ugly truths. The cinematography is great, it increases the story’s fear, the score is stirring, and the ending is satisfying and adds a little treat for fans of the original. It’s best to go into this film without any expectations as hard as that may be to do. I enjoyed the Candyman but it is far different than I imagined it would be. Its rewatchability is medium. Oh, and make sure to watch the credits to see some extra backstory.
Pacing & Pop
The pacing of the film is more slow and snoozy than expected. As the tone of the story is as dark as you’d expect, it slowly unfolds before violently exploding. I assume we all thought we’d get a more uptempo thriller-like feel and it just isn’t the case. However, before you know it, you’re at the story’s end. We could’ve used a few extra minutes for further development or kills. What popped for me is the metaphorical identity of the urban legend. Candyman now means more than ever.
Characters & Chemistry
I can’t really say any particular performance outshined the others, but collectively the cast did a great job. Anthony’s (Yahya Abdul-Mateen II) transformation from creative artist to cultural protector is pretty intense. Colman Domingo as William Burke is the last of a gentrified neighborhood with unknown motives and a mountain of anger. The chemistry between Yahya’s character and Brianna (Teyonah Parris) was lacking as a result of the rushed storytelling. However, I enjoyed all three in their roles.
Candyman releases in theaters on August 27, 2021. Stay safe and enjoy. “Tell everyone”.
Director: Nia DaCosta
Writers: Jordan Peele, Win Rosenfeld, Nia DaCosta
Producers: Jordan Peele, p.g.a., Ian Cooper, p.g.a., Win Rosenfeld, p.g.a.
Executive Producers: David Kern, Jason Cloth, Aaron L. Gilbert
Rated: R
Runtime: 1h 31m
Rating: 3.5 out of 5
Senior Critic. Observing the human race since 1988.
