Candyman (2021) — A Review

18th September, 2021

OK … 

I am — in the immortal words of Hector the Hound … ? — a great big silly old Hector.

I usually start my film reviews off, the evening I watch the films concerned.

Then finish them off the next day, after a good night’s sleep.

You’ll have to take the thought as the metaphorical — metaphorical? proverbial? — deed.

And assume I started this, last night.

At any rate, last night’s film was something I’ve been meaning to watch for some time.

Yes: the 2021, Nia DaCosta directed, Jordan Peele produced, horror film, Candyman.

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Following on from the 1992 original, Candyman opens in Cabrini Green in 1977: and shows us a boy named William (Rodney L. Jones 3rd) taking the family laundry to the communal laundry room.

On the way there?   He encounters a sinister figure with a hook for a hand, who offers him sweets …

Post titles?

We see Troy and his partner, Grady (Nathan Stewart-Jarrett and Kyle Kaminsky) heading to a new apartment in a now gentrified Cabrini Green: owned by Troy’s sister Brianna (Teyonah Paris) and her partner, Anthony McCoy (Yahya Abdul-Mateen II).

Where Troy — over a nice rosé and several candles — tells everyone of a woman called Helen Lyle: who’d had a psychotic episode after studying the myths of the Green, and who almost killed a baby by putting him in to the area’s Annual Bonfire*.

Hearing this, and having a meeting with an art dealer he works with?

Inspires Anthony to go investigating around the now gentrified area: to see what inspiration he can find.

Anthony’s wonderings take him to an old church, to Cabrini’s remaining row houses … and a laundromat run by the now grown up William

Who has a tale to tell about Helen, about his childhood meeting with a hook handed man killed by police for spiking sweets with razor blades … and who’s death didn’t stop children being harmed.

William also tells Anthony about Cabrini Green’s own myth in residence: Candyman … 

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Now … what have I seen … ?

Have I seen a horror film?   Great art?   A good film?   A bad film?   One with huge dollops of lasagne festering in an odd corner?

I have to admit to staring at the screen, whilst writing this post: unsure of how to hammer out words to describe what I’ve seen.

I think I can safely say several things.

For starters?

I don’t know if Candyman is great art.

But it is very well written piece: that both acknowledged the original film, and added new elements to the background universe

There’s more than one Candyman, for example, and new ones can be created.

Virginia Madsen, Vanessa William and Tony Todd all make an appearance as Helen, Anne Marie McCoy and Candyman/Daniel Robitaille, respectively.

Something I usually don’t mention … ?

Is the sound track: and aspects of the sound design.

I don’t know much about sound design, soundtracks or sound effects: beyond the basic fact the foley artist provide sound effects, and that — supposedly — putting a melon on a chopping board, cutting it in half with a cleaver and making sure half of it falls into a (tin) bucket is a good way of imitating the sound of someone being decapitated.

But a couple of things leapt out at me.

This version of Candyman has a superb soundtrack: composed by Robert Aiki Aubrey Lowe, and easily on a par — possibly better— than Phillip Glass’s original score.

Granted, that’s one man’s opinion: and granted, we’re talking an original score by Glass.

But Lowe has done quite a job, I think.

I also mention sound design … although possibly I mean sound effects.

But I couldn’t help but notice that this version of the iconic killer?

Warned you he was coming in a different way to the original.

The original movie had graffiti, and a musical sting telling you the Candyman was near.

This version doesn’t: instead we see shadows, hints of the now famous hook, bees … and laboured heavy breathing from an approaching thing.

That, the music, the story being told, Yahya Abdul Mateen’s generally restrained performance?

Kept me riveted to my chair for an hour and a half.

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Can I make a confession or two, here?   As I get towards the end of this written review?

I can’s help but notice Candyman’s has a black majority cast: and many talented black people in key roles;

Producer, Jordan Peele, for example, composer, Robert Aiki Aubrey Lowe, and no less a person than director Nic DaCosta: in what is only her second feature.

I think she’s done a good job.

Aa job that leaves a message. 

Personally, it tells me I’ve not seen that many films that have a significant input from a person — or people — of colour.

With the possible exception of Black Panther.

Much to my shame.

After all, Get Out, and Us, have been around for a while: as has Spike Lee’s entire back catalogue.

Nia DaCosta reminds me that’s something I could and should remedy.

It’s something I’ve only only done in part by watching Candyman, last night.

Watching … and taking note of any messages it may be trying to point out to me.

Early on in the film, the character of William tells us about how he starts screaming when Sherman Fields offers him candies: and how this attracts the local (white) police.

He tells Anthony “That’s when I saw the true face of fear.”

He wasn’t talking about the expression on Sherman’s face when he sees a victim … but when Sherman hears approaching police officers.

We see Anthony’s work at an art exhibition: realising quickly enough that one art critic he talks to isn’t talking about artists moving into an area, because it’s cheap.

And, of course, there’s the climax … 

Well … 

Personally … ?

I think what we have in Candyman (2021) is a superb piece of work: something I think you should go watch.

And, once you’ve seen it … ?

You should tell everyone … 

Candyman.

★★★★

*        That’s a very rough summary of the original film’s plotline.   Helen’s now an urban myth to the gentrified people of the Green.