All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
You don't have to believe... just beware.
The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth.
I was very excited that my first assignment was to be Candyman , a movie that I wanted to see for a long time. I had heard very much about it, but mostly that it was an important horror movie everyone interested in horror should see. So I knew nothing specific about it and just figured it would be an usual horror flick about an unstoppable killer, your standard run-of-the-mill shlasher film if you will, adored by horror enthusiasts.
I was very pleasently surprised that this movie was so much more.
Candyman is based on the short story "The Forbidden" by Clive Barker and the…
"It was always you, Helen. Come with me and be immortal."
This classic frightened a generation of their own bathroom mirrors. Totally under-appreciated upon it's release, even to this day but Bernard Rose's contemporary horror based on the short story, The Forbidden, by Clive Barker is a minor masterpiece and features a menacing performance from Tony Todd. While Freddy Kruger, Michael Myers and others stole the horror limelight, the Candyman not just haunted my dreams but forced me to avoid the mirror all the way through my teenage years of school in the fear that Candyman would appear and rip his hook through my gullet - in turn it didn't make me very popular in school. If you haven't seen…
Candyman is another one of those movies I have a hard time rating due to inner-turmoil caused by nostalgia. I have wanted to give this movie a re-watch for so long, that now that I finally have, I wonder if maybe I should have just let it remain in the annals of my personal sentiment.
This is still a decent story about urban legends, with a heavy emphasis on urban as the short story written by Clive Barker was taken out of England and placed in inner-city Chicago, containing a tragic tale accompanied by a haunting and ethereal score from the genius of Philip Glass. Tony Todd will forever remain one of my favorite genre-actors but something about this movie…
This review may contain spoilers. I can handle the truth.
20th film watched for my official 2014 Halloween season horror movie MegaBash (still not following the order I set for it yet)
So... apparently, a lot of people are deciding this isn't as good as they once thought it was... Shame be on the lot of you. Like with several of these re-watches for the season, this film has never played stronger than it did today. Of course, I've got the speakers cranked a fair deal (and they're small speakers) (small, but powerful with the right movie). Tony Todd's one-of-a-kind voice filling the room like he's right behind me. Doing all this (shutting off the lights, turning off the fan, making sure I can hear the film's quiet as clearly…
Thoroughly weird and boiling over with enough pain and sadness (and barbed social commentary) to almost cover up the fact that it stops making sense in the home stretch. Good accidental double feature with THE WITCH (old folktale/new folktale, the woods/the projects). Shades of Lovecraft too, where for a white professor, the horrors of slavery and black poverty are the unknowable, the ancient evils. To glimpse them first hand drives her mad.
Exactly the kind of gorgeously realized, subtextually meaty horror movie that conventional wisdom suggests could never exist on a big studio level in 1992. The lush neo-gothic vibe of it is enhanced considerably by Tony Todd's Candyman, who talks a little like a homicidal spin on the angels from Wings of Desire and sells every word, as well as Philip Glass' beautiful score. Virginia Madsen is also pretty great in a lead role that like all truly virulent urban legends may not actually make any sense at all.
My final praise is reserved for Xander "Xandyman" Berkeley, who here surpasses his role as Waingro in LA Takedown in my esteem. His final scene in the bathroom gives you everything you could ever want from XB and then some, definitely one for the sizzle reel.
I have a soft spot for horror so when a movie like this is good it becomes AMAZING in my eyes. Not sure if this is a bad thing or not. Whatever, I love this movie.
I absolutely love the pacing of this movie. It maintains a somewhat unsettling vibe throughout so when the gore shows up it has a perfect effect on the viewer. A horror that is beautifully shot and aesthically pleasing like this is great to come across and this is one of them.
Not sure if it's the way it's shot or if it's due to one of the best theme's ever (It Was Always You, Helen), but everytime I watch this movie I find myself…
Well there you are. Surprisingly good.
Holy Shit, this movie is good! What you have is a premise not too dissimilar from NIGHTMARE ON ELM STREET, but with a Spike Lee aesthetic/social commentary, and a well-written adult protagonist who becomes morally ambiguous.
I don't know how this movie does it, but it takes inner-city poverty, destitution, waste, and somehow turns this landscape into poetry.
Like Freddy, Candyman lives in dreams, but it's not quite as literal as that. He's a celebration of myth and of oral storytelling. Unlike other slasher villains, he has a warmth that you like and want to spend time with. Tony Todd deserves credit for creating such an engaging character with so little material and mostly just voiceover. And Virginia Madsen may…
Seems to capture the sometimes overly-poetic prose and dread inspiring atmosphere of Clive Barker's literary work better than Barker has done with his own adaptations. Which by no means is me saying I don't like Barker's films.
Tony Todd is great. Good horror movie with strong acting performances.
Hmmm. Not as unsettling as the other Bernard Rose film that I've seen (Paperhouse) nor as strikingly gruesome as the other Clive Barker adaptation (Hellraiser, of course), but with enough similarity to both that it suffers in comparison. The idea of a Philip Glass-scored horror film sounds good, but the music didn't fit the film at all for me - one of a few elements that seemed a little too classy for a story that seemed to need a slightly nastier, trashier execution to really work.
There are some really striking images, especially in the graffiti-covered rooms of the housing project, and I really like that kid (also that he is called DeJuan Guy, which is a really awesome name), and there's nothing really wrong with this as such - it's a solid horror film with an interesting hook (aha!), it just never quite clicked into the film I wanted it to be, I guess.
This seriously moody and beautifully shot cerebral slasher left a lasting impression on me as a young lad (especially the public washroom sequence). I revisited it as a recent convert to the madly creative church of Clive Barker and it's just as potent as I remembered, although I found my interest dipped when Candyman himself entered the story. Despite an incredibly creepy performance, his off-screen presence was much more powerful for me.
A good movie, and it has certain fluorishes (the bee attack, those shots of the Chicago sky-line, Virginia Maden's performance) that are wonderful... and it somehow features one of the great scores of all horror films. How did Phillip Glass get involved with this? Seeing this again I was so floored by his work that I'd put it just behind Psycho and Halloween as far as the champion horror movie music (yes, above Goblin, I can't believe it but it's true).
A strange, sometimes hokey, sometimes tense and weird, it's a horror movie that goes for ideas but is often trumped by its generic trappings.
"Horror is one of the most readily dismissed genres from critics and film buffs, yet is, arguably, the…
a list that is trying to contain every horror film made that is not lost and is found on the…