by Miller C. Lashbrook
Nia DaCosta’s Candyman is the perfect spiritual successor to the 1992 film with fitting social commentary for today and a visual aesthetic on the level of the best that cinema has to offer.
Last October my fiancé and I made a list of horror and supernatural movies to watch leading up to Halloween. Some of the movies were nostalgia pics, like Hocus Pocus, that we watch every year, but most of the movies were horror movies that I had yet to see. One of the highlights of all of these films was Clive Barker’s 1992 Candyman. I loved the score, visual aesthetic, social commentary, and overall themes of the film. So, when I was lucky enough to win tickets to an early screening to the new Candyman from Orlando Weekly, which was directed by woman who is set to direct Marvel’s upcoming The Marvels, I was instantly excited. I am very happy to report that this new movie not only exceeds my expectations, but manages to become the perfect follow up to the original.
The choice to make this film about a man becoming the legend, about the fear of minorities seeing the past repeated gives the agency in the film back to the Black characters in the age of BLM where Black Americans are fighting just to be seen and heard, was simple but amazing. When the film has the chance for an easy scare or plot point, it always takes a different direction. Jump scares are swapped for visual aesthetics.
I really hesitate saying much more about the films plot because I think everyone should get to experience this hour and half of a masterpiece on their own; I will say though, that Teyonah Paris and Yahya Abdul-Mateen II act the hell out of this movie.
If you feel safe going to the movies in your area, please go see this film, it is worth every minute of your time. 5/5 bees 🐝.