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'CANDYMAN' SAYS THE NAME AGAIN, MIXING HORROR WITH SOCIAL COMMENTARY

Review by Brian Lowry, CNN



Updated 1553 GMT (2353 HKT) August 26, 2021


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How Jordan Peele turned his fear into success 02:56

(CNN)"Candyman" juggles quite a lot in creating a sequel to an almost
30-year-old movie -- an even tougher feat when one hand is a hook. The result is
a thought-provoking contemplation on racial injustice through the prism of
horror, somewhat awkwardly serving its bloodier expectations while draping the
story over the bones of the original.

Producer Jordan Peele mastered the central part of that combination in "Get
Out," and collaborating on the script with Win Rosenfeld and director Nia
DaCosta (already tapped to helm Marvel's upcoming "The Marvels"), does so less
successfully here. It's worth noting that the movie was originally scheduled for
a June 2020 release before pandemic-related delays, and its themes certainly
would have resonated just as loudly amid the summer of widespread Black Lives
Matter protests.
For those who might need a "Candyman" refresher course, the 1992 movie starred
Tony Todd in the title role, as a ghostly figure haunting the Cabrini-Green
housing projects in Chicago. The movie begins in the same general location,
which has since been gentrified, with artist Anthony McCoy (Yahya Abdul-Mateen
II) and his gallery director girlfriend Brianna (Teyonah Parris, also destined
for "The Marvels") occupying a lavish apartment there.



Desperate for an idea for an upcoming exhibit, Anthony is told by Brianna's
brother (Nathan Stewart-Jarrett) about the myth surrounding the Candyman, whose
hook-handed ghost will appear and kill you if you look in a mirror and repeat
the name five times. (Ironically, the title "Get Out" represented a sly response
to stupid things that people do in horror movies, this whole "daring the
supernatural killer" thing being a prime example of them.)

Anthony's research brings him into contact with a longtime resident of the
neighborhood ("Fear the Walking Dead's" Colman Domingo), who offers additional
historical insights about violence against Black men in the area, drawing the
artist deeper into a rabbit hole that begins to threaten his relationships and
sanity.
Read More
The filmmakers have done an admirable job weaving the mythology together while
employing inventive touches -- like shadow puppets as characters discuss the
past -- to explore traumatic events without exploiting them.
The main challenge comes in servicing the appetites of horror fans, and
"Candyman" fares less well on that score, including a degree of predictability
about who's in danger, and moments of grisliness that -- even with efforts to
finesse certain elements -- almost can't help but feel obligatory juxtaposed
with the bigger ideas at play.
Then again, Peele's recent projects ("Us" and "Lovecraft Country" serving as
prime examples) have helped invigorate horror as a conduit into the Black
experience, an approach emulated by other movies like "Antebellum" and the
recent Amazon series "Them." "Candyman" essentially takes a familiar title,
circles back to earlier iterations of that dynamic, then seeks to bring it
crashing into the 21st century.

To its credit, the movie manages that in a crisp 90-minute package. Yet for all
that the film does well, in trying to balance its cerebral, visceral and sequel
aspects, "Candyman" appears to have bitten off a bit more than it can chew.
"Candyman" premieres Aug. 27 in US theaters. It's rated R.




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13 US service members and 90 Afghans killed in attack, according to the Pentagon
and Afghanistan health ministry


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