Doesn't set up its rules all that clearly, and drags a little in the back of the second act, but: the depiction of a very specific time (1978) and place (rural Iranian Kurdistan) is fascinating, there's some good tension here and there, and the third act is great. Hard to discuss without spoilers, because there's a lot riding on whether this is or isn't actually a horror film, as opposed to a social-realistic depiction of an intensely superstitious community.
Quite well acted, and sumptuously photographed, but oddly superficial. 2 hours to let us know that being forcibly incarcerated in a 19th century asylum was Not Fun. Some points made regarding the patriarchy, but nothing of any real insight. One of the characters gets raped at the end as a kind of thematic punctuation. Deceptively thin stuff.
Nia DaCosta’s CANDYMAN is THE BEST CANDYMAN.
Yahya Abdul-Mateen II is electrifying, Colman Domingo is superb. In fact, everyone’s great. And what a relief to see a horror properly develop its themes in the third act, instead of just collapsing into CGI…
This Candyman enriches and expands upon the original.
See this movie!
SOUL is another triumph for @Pixar - a spiritual sequel to INSIDE OUT that looks at how we find meaning & purpose in life, & what might happen in the space between those things. Death is portrayed as a journey into an obliterating void, plus there’s a funny cat. 💕
I’ll say this though - never has a Pixar film felt more focused on an adult audience. There are strong themes here about existential doubt, and the fear of having wasted your life; different concerns to the emotional management of INSIDE OUT. I wonder what kids will make if it.
As for me? Yes, I cried.