Review: 'Candyman' is a new horror classic that'll make you think hard about everything you see

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Our reviewer Peter Travers says: ''Candyman' is a riveting continuation of the infamous 1992 horror.'

And what a story, of Black 19th century artist Daniel Robitaille, played by the great Tony Todd in the '92 version, who fell in love with the white woman he was painting until a white mob cut off his hand, smeared him with honey to attract killer bees and then burned him alive. Candyman rose out of his ashes.

It’s macabre fun until DaCosta’s satire grows fangs. Though she only shows the gore from oblique angles, the dread feels doubled. Unlike the original, which spawned two dim sequels, this daring, definitive corrective is seen exclusively from a Black perspective. As the bee sting on Anthony’s hand festers, the Candyman spectre emerges as a symbol of community revolt against white violence to Black bodies. As Burke says,"Candyman ain’t a he, Candyman’s the whole damn hive."You can fault the film’s heavy messaging but not its blazing passion for racial justice and the need to see the demon inside ourselves.

With his grisly, mirrored art installations, Anthony uses parodistic art-world language to claim he’s"trying to align these moments in time that exist in the same place. The idea is to almost calibrate tragedy into a focused lineage that culminates in the new."The scares are off the charts, but only as a means to confront the film’s challenges. You’ll think hard about everything you see.

 

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