“Candyman” is a sleek and sinister discourse.

An artist (Yahya Abdul-Mateen II) inspired by the macabre truth behind the tale of “Candyman”, unknowingly unleashes a terrifying wave of violence and horror in Nia DaCosta’s Candyman.

You may enter the theatre saying “his name” but you’re going to leave it bellowing:

NIA. DAMN. DACOSTA.

It is hard to deny that DaCosta has crafted a stylish, savage, haunting and visually compelling piece. She has captured the essence of what makes this narrative so eternal with audiences in an engaging way, by leveraging her talented cast and adding new life into this bloody satire.

The direction and camerawork from the very start is mind blowing. Every mirror and every reflective surface, creates an overbearing sense of dread throughout the film. It’s masterful. Can we all just agree that the genre of horror is experimenting with the most transcendent filmmaking?

Back in college, I was in a horror film class that did a deep dive into Bernard Rose’s original film. Yes. You read that right.

Although Candyman is highly regarded in the horror community as one of the finest slashers, its poignant statements about the politics of race cut so much deeper.

This installment of Candyman series expands on the themes of its predecessors and tackles the social issues head on. It’s almost too much discourse at times, which deters from the traditional “horror elements” that drive horror fans into the theatre. But then again, the true horror here is racism and the brutality against the black community. And that is far more horrifying than blood and guts.

Final Thoughts: Although Candyman’s focus is more on the social issues than typical terror, it’s DaCosta’s fresh filming that makes a memorable experience.

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