Say His Name…I Dare You…
I have a bone to pick—a pet peeve, if you will, when it comes to the recent trend of horror movies being named after the franchise, opposed to giving it a new number or name that individualizes it amongst the slew of countless sequels. Whether it’s HALLOWEEN (2018), SCREAM (2022), or the film I’ll be reviewing here today, CANDYMAN (2021).
Now in the case of SCREAM (2022), it’s done purposely with a conscious and satirical flair. If you’re not familiar with the series as a whole, this idea of making light (in a loving way) of the horror genre and its tropes is the original crux of director Wes Craven’s franchise in general. Furthermore, the name given to its current iteration is just a testament to what is currently going on in the genre. But I digress, as the point i’m trying to make is this: instead of Halloween (2018), how about, HALLOWEEN RETURNS. Instead of CandyMan (2021), how about, THE LEGEND OF CANDYMAN.
This is to say, the three franchise films I just mentioned are fantastic in their own way and stand brilliantly upon their own merit. No need to really see the films before it, though it does help in some cases, but perfect for a modern audience.
Based on Clive Barker’s 1985 short story, THE FORBIDDEN, the original 1992 film follows Helen Lyle, a graduate student from Chicago, who is looking to complete her thesis on the urbane legend of Daniel Robitaille, The Candyman; an artist and son of a slave, who was murdered for having a relationship with the daughter of a wealthy aristocrat.
This brings me to the 2021 film, produced by Jordan Peel, and directed by Nia DaCosta. A sequel and a masterpiece that stands on its own, and deserves to be viewed upon its own merit. But as all things, it has its faults.
Candyman is the spirit of oppression.
Benjamin Naves
This concept, though addressed, is beaten over your head throughout the dialogue and actions from the film as it takes place; from its early opening scenes to the latter half of the film.
Though by the time you end up on its 90 minute runtime, you find yourself with a new understanding and appreciation for this newer take on a currently overused theme. And that is where I appreciate it, as by the time the tables are turned in typical horror fashion, it is well welcomed but over very quickly.
This is a plus and a major minus, as you feel as the climax of the film is rushed, where the rest of the movie is done at such a deliberate pace. It’s slow moving, but not too much, and as the blood splatters across the screen in literal fashion, it is welcomed. You only wished that it wasn’t over so abruptly and you had more time with the characters.
Overall, as I stated in the beginning, if this was named something else, possibly it would have been accepted with more open arms than its current lukewarm reception. Where I found myself saying both, I wish I saw this sooner and I can see why this film fell through the cracks.
