Candyman

Candyman ★★★

Personally found this more visually striking than the original, and amped up in terms of the effects, the visuals, and the violence. I mean, even the method of killing is flashier - now, Candyman is a purely supernatural force, existing behind the world of the mirror.

The word that comes to mind when watching this is sleek. There's a beautiful lacquer over this entire narrative, but instead of adding depth to the film, all it does is it makes it look flatter and one-dimensional. It's still beautiful though, but it does have the same feeling as a gentrified neighborhood. In an attempt to capture the 'grittiness' of a place, you end up losing whatever it was that made it desirable in the first place.

Okay, all that aside, I thoroughly enjoyed this film, as it speeds down the lane that it's in. As a standalone film, there's a liveliness to this that was captivating: the beautiful blocking and complex use of space, the inventive execution of the horror elements, even the color and tone of the character's costumes. It's unabashedly self-referential, reflexively folding into the Candyman mythos and existing outside of it, an interesting reflection on the vagaries of art and social commentary.

Too bad they don't explore any of that in the script, instead going on lengthy verbal crusades on charged racial issues that feels less like a conversation and more like a TED talk. It's so heavyhanded that it's literally offputting, but I guess some people need to hear it?

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Part of Hooptober 8.0
Progress: 15/31
Decade: 2020s
Country: United States
Criteria: 3 films with a person of color as director or lead

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