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Horror, Thriller 91 min R
Rotten Tomatoes83%Metacritic72IMDb
Dare to say his name.
A Chicago artist's sanity starts to unravel, unleashing a terrifying wave of violence when he begins to explore the macabre history of the Candyman.
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Contemplative, bleak, meticulous and overwhelming.
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Written by TMDB members; each links to the original. Not part of Taste Buds's numbers.
I like the new Candyman. I don't love it, but I like it a lot. This film co-written and directed by Nia DaCosta wants to be the Wes Craven's New Nightmare of this franchise, and whenever it reaches that level, it hits a home run — especially when it comes to the eponymous monster, who has never been more sinister or menacing (Tony Todd, who originated the role in 1992, appears in a limited but effective capacity that transcends mere fanservice). Speaking of 1992, DaCosta, who was three years old at the time, would not have been able to bring this project to fruition without the invaluable help of co-writers Jordan Peele and Win Rosenfeld, who know the material inside out and treat it with the same reverence that they it doubtless without inspired in them when they first encounter it in their teens. The filmmakers even get the comic relief right, and that’s not something too many horror flicks can brag about. The original Candyman "was a horror movie that scared with ideas and blood, instead of just blood" (Ebert); the new version lives up to this standard, creating a foreboding atmosphere with practical special effects rather than CGI. For example, mirrors are Candyman's portal int
Read the whole review on TMDB_Candyman's_ story was intriguing and with spectacular visuals it is a decent watch, but for a horror film there was a significant lack of... horror. At no point in the film was there tension, dread, or a sense that I was being lead to a thrilling climax, it was more of a character study on Candyman. The character study aspect was great, I loved hearing the mythos of Candyman from different people in the community. The investigation into the backstory of Candyman paired with commentary on police brutality was really well done, but this was marketed as a horror film and it did not deliver. The cinematography was excellent, there were some really great shots utilizing mirrors and different angles but is that enough? In the end, this movie left me wanting much more. **Score:** _58%_ **Verdict:** _Decent_
Read the whole review on TMDBI rewatched the 1992's Candyman in preparation for Nia DaCosta's (Little Woods) direct sequel, so I could get the most out of it without having to force my memory to kick in. Despite being addicted to Philip Glass' score of the original film, Bernard Rose's take on Clive Barker's short story isn't exactly one of my favorite classics, even though I appreciate it quite a bit. Expectations-wise, I didn't know the director beforehand, but I was curious to see what DaCosta could bring to the famous tale. Unfortunately, I'm not the right person to tackle the heavy themes depicted in the filmmaker's sophomore flick. From an evident, strong opinion about gentrification to the biased white critical lenses, the director has a clear vision and firm messages concerning cultural injustice. As a white European young man, I'm not going to pretend to have experience or even enough knowledge to approach these necessary, sensitive debates, so I'll let other critics, namely Black authors, spread their voices. Nevertheless, I have mixed feelings about this sequel. Despite being beautifully shot (John Guleserian), edited (Catrin Hedström), and scored (Robert A. A. Lowe), the thematically driven screenp
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Closest on the same fourteen dimensions, from everything scored on Taste Buds. Other media included when they land close.
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