Candyman Early Movie Reviews Praise for Reinventing the Horror Sequel


The first opinions for the Candy Nia DaCosta sequel Jordan Peele and Win Rosenfeld arrive and praise the horror film. The new film will follow directly on from the original film as adult Anthony McCoy returns to his childhood home in Cabrini-Green, once a Chicago housing project and now a gentrified condo complex, seeking to revitalize his artistic career. . . As he delves into local Candyman legend, Anthony begins to lose his sanity and slowly unveils dark secrets from his and the spirit’s past and threatens to unleash a long-sleeping evil.

The Candy the franchise began in 1992 with the eponymous film, itself based on Clive Barker’s short story “The Forbidden” in his Pounds of blood collection with Tony Todd as titular spirit. After two poorly received sequels, the series struggled to kick off a third project, with ideas being considered ranging from an actual fourth film to a crossover with the Leprechaun franchise, the last of which was rejected by Todd. The new film would go into development in 2018 with Peele and Winfield attached to produce and co-write the screenplay with director DaCosta and take a direct approach to its story with a cast of new and old actors and characters, including Yahya Abdul- Mateen II as Anthony, Teyonah Parris, Nathan Stewart-Jarrett, Colman Domingo, Vanessa Estelle Williams and apparently Todd himself.

Related: Candyman’s Remake Proves The Nightmare On Elm Street Deserves A Better Reboot

A few days before the film’s release, the first reviews of Candy have started to roll out and critics are celebrating the legacy of horror. While some reviews point to an overloaded story for the film, most celebrate its sharper social themes, the franchise’s ambitious reinvention, the performances of its cast, and DaCosta’s directing on the film. Check out some of the reviews from the critics below:

Mae Abdulbaki, Screen cry:

From a visual point of view, Candy is beautifully shot, with the use of mirrors and atmospheric lighting, masterfully aiding the storytelling while playing on unease and horror. While introducing a few arcs, it doesn’t fully explore, Candy is full of haunting imagery, baffling horrors and thought-provoking themes.

Meagan Navarro, Bloody disgusting:

Candy skillfully juggles so many things at once, from artistic intention and ownership to a story of violence that spawns monstrous legends. A story that the DaCosta film aims to claim with fiery passion, until a finale that hits you like a freight train and penetrates your skin. DaCosta is a powerful director, and her singular vision demands not only that you say her name, but understand why.

David Rooney, THR:

Whether you call it a spiritual sequel, reboot, or reinvention, Candy offers a fresh approach by reversing the perspective of the original, almost showing a mirror image as it continues the tradition of campfire ghost stories that acquire new dimensions and detail as they unfold. are told through the generations.

Owen Gleiberman, Variety:

But now Candy was remade by director Nia DaCosta, and what she has done is make a horror film that has its fair share of thrilling shocks, but which is rooted in a richer meditation on the social terror of the Candyman fable.

Lea Greenblatt, GE:

Who can do a reboot, sprinkle it with something new, cover it in blood and bumblebees and a sharp social commentary or two? Candy can, at least for a little while, although the film doesn’t really find its more than bodily groove at the end.

Matt Goldberg, Collider:

Return the original Candy on his head is one of the best things the DaCosta version does, acknowledging the original’s shortcomings and strengths and repositioning them in a story about racial violence and a black lust for power. As Candy is heading towards its climax, you can see that the movie may be so overloaded with ideas that it starts to crumble under their weight, and yet you can’t help but admire the ambition that DaCosta and co-writers Jordan Peele and Win Rosenfeld brought to this new tale of the supernatural slasher.

Sarah El Mahmoud, CinemaBlend:

Nia DaCosta asserts her style and is revealed to be a distinct director who wants to reach out and feel the story told through every element of her cinema.

The fourth and final film, directed by Nia DaCosta, revisits the urban legend and more than deserves its place as a sequel decades later. It’s a modern update (and in many ways, a remix) of a monument of black horror, and while it certainly pays homage to the existing saga, it also digs deeper into the myth, unearthing volatile ideas that had always lurked just below the surface of the series. . The result is inventive, introspective and above all disturbing.

Elisabeth Weitzman, The Envelope:

One of the ideas Anthony inadvertently explores is the overwhelming power of a name. You’ll be hard pressed to stop sharing those of the artists who rewrote Candyman’s story and elevated his legacy.

Patrick Cavanaugh,

Much like this original adaptation, writer / director Nia DaCosta hoped to revive the mythology of the source material while sidestepping audience expectations with it. Candy, and while she does manage to find new perspectives both from a slasher film and a cultural perspective, the climax of the narrative doesn’t quite stick with the landing that the dark and disturbing storyline set. in place for its final.

Michael Phillips, Chicago Tribune:

While the trailer suggests the reboot Universal Studios wants this one to be, co-writer and director Nia DaCosta has made her own kind of Candy – elegant, brooding, methodical, thoughtful.

Kambole Campbell, Empire:

While it offers entertaining comedy and bloodshed, Candy is awkward and overly informative in its metaphorical purpose – to kill the subtext as often as anyone crazy enough to invoke the eponymous spirit.

Kate Erbland, IndieWire:

As the grotesque grows and the stakes get higher and higher, Candy delivers a very subtle meditation on the history of violence and the legacy of the traumas that led to this new incarnation. The film, originally slated for release in June 2020, was still meant to be timely, but arriving after so many painful pandemic months, ensures its sting will last even longer.

Mark Kennedy, PA:

In equal parts cerebral, political and disgusting, Candy is a worthy addition to the library of top-notch social thrillers built by Jordan Peele and it marks an astonishing step forward for director DaCosta, who only had one independent under her belt, the well-received crime drama Little wood.

Anya Stanley, The AV Club:

When the scares of this slasher variation arrive, Candy can be quite effective. DaCosta instinctively keeps the audience and legend at arm’s length, obstructing focal length kills and abstracting them into bursts of light under a door or a red-splashed motion through a window you have to squint to catch.

Since the film was first announced in development, there was no doubt that the pairing of DaCosta, Peele and Winfield would deliver anything but gold and the first reviews for Candy certainly erase that anticipation bar. Bernard Rose’s original Candy The film offered intriguing social themes in regards to racism and history, although there were undoubtedly a few flaws or areas that could have been explored further. As witnessed Get out and We, Peele has shown great mastery in blending the horror genre with timely storytelling and her partnership with Little wood storyteller DaCosta opened the door for an insightful update on the urban legend.

Given the ambitious nature of the Candy sequel, it’s both a bit disappointing and understandable that he can feel overwhelmed at times as the filmmakers try to reinvent the horror franchise while exploring some important topics. However, with most critics still hailing the film as one of their favorites of the year and a worthy follow-up, it seems like the wait was well worth the wait for fans of the franchise. This wait is almost over because Candy hits theaters on Friday.

More: Every Unexpected Candyman Movie Explained

Sources: Various [see links above]

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