Review: Nia DaCosta's 'Candyman' is Disturbing, Fun, and Intriguing

Fourth time's the charm for the "Candyman," even though this new vision is more or less a direct sequel to the original 1992 film.

Based on Clive Barker's short story "The Forbidden," the original "Candyman," starring Virginia Madsen, was a modest hit that has gained a cult following over the years. Upon re-visiting the film, I enjoyed Madsen, the commentary on social and racist issues, but the mythology of the Candyman himself was a bit muddled. He's a supernatural character that is found sleeping at one point and... *spoiler to the 1992 film*... is killed with a wooden stake. Huh?

There were also issues with what happens after someone says "Candyman" into a mirror five times. Sometimes the callers immediately die. Sometimes Candyman kills other people. Sometimes he just lurks around in the shadows for a while.

This made me curious how this would all be handled in the reboot/sequel, and for the most part the movie delivers. It expands the mythology, creating a more compelling socio-political connection. Characters from the original film show up and connect to the new goings-on, and the use of an artist as our lead character is a terrific choice on how to enter into the world.

The problem is with the Candyman mythology that, once again, gets a bit muddled toward the end. This doesn't take away the enjoyment of Nia DaCosta's re-imagining, however, as she has created a creepy, artistic, and engrossing take on this boogeyman.

Anthony McCoy (Yahya Abdul-Mateen II) is a struggling artist with an art dealer girlfriend, Brianna Cartwright (Teyonah Parris "WandaVision"). The couple have just moved into a gorgeous new apartment in Chicago's upgraded Cabrini Green.

As Anthony tries to find inspiration in his art, he is informed by his girlfriend's brother, Troy (Nathan Stewart-Jarrett), of the story of Sherman Fields (Michael Hargrove), a one-armed man with a hook for a hand that used to pass out candy to the kids in the neighborhood in the late '70s. But because of his appearance, he was accused of hurting children and was brutally killed. Now he haunts Cabrini Green if summoned by saying his nickname five times while looking in a mirror. If that occurs, he will appear in the mirror and kill the person who called him.

Anthony is drawn to the history of this story and begins to work it into his art. When he creates a piece that is put into his girlfriend's art show, it inadvertently calls the Candyman, and terror ensues. This makes Anthony more obsessed, and he begins painting images of the Candyman as his popularity rises – mostly because of his art's link to the murders. Of course, Brianna doesn't really believe it and wants him to stop. But he can't.

Meanwhile, he consults with William Burke (Colman Domingo), who as a boy came face to face with Sherman Fields and accidentally caused his demise. Anthony gets more details about the story and, of course, his obsession intensifies.

None of this is going to lead anywhere good for Anthony, but it's in how it all relates to him that is fascinating. And the eeriness that ensures is potent.

Truth be told, this new "Candyman" isn't necessarily scary, but it has some truly unsettling scenes and is a great tie-in to the original film. Director DaCosta doesn't linger on violence, instead choosing to show singular images like blood pouring like a waterfall onto a floor in a bathroom stall, or hearing a slaughter occur without actually seeing it. This allows our imagination to do the work, which is entirely more upsetting.

She also utilizes mirrors and reflections for our Candyman appearances, which make his murders more supernatural and cooler to watch. (Lots of bodies rising into the air as they are disemboweled and thrown around.)

As mentioned, it runs with the political and racial aspects of the Candyman mythology, creating a larger and more potent world.

My issue with the Candyman backstory is that, again, the rules only work when convenient. People summon Candyman, but he lingers in the shadows, killing others but not his intended target. Why not just get it over with?

Anthony's descent isn't clear either, but it's hard to discuss without giving twists and plot points away. This also leads into the problem of why Candyman is after Anthony. Clearly this gives us a chance to get a backstory of Sherman in the '70s, but in the original film (the events which are discussed here) we know of Daniel Robitaille (Tony Todd) who haunted Helen Lyle (Madsen). There's a cool connection that certainly opens this film up for sequels, but the motives for the Candyman, and what happens with Anthony, aren't all that clear.

That said, Nia DaCosta has crafted a beautiful-looking horror film that has a lot more going for it than supernatural slasher movies usually have. It's the same reason the original was so successful. She was a perfect choice to direct this film, and Jordan Peele as producer and co-writer also gives this film a respected pedigree.

Fans will be invested, but I would suggest to those that haven't seen the original to watch the 1992 classic to really get all of the nuance put into this well-made reboot.

Disturbing, fun, and intriguing, it's okay to accept the treat of this movie from the Candyman, but really, do us all a favor and please avoid saying his name five times in any sort of reflective surface.

"Candyman" is available digitally on NOV 2, and on 4KHD, BLU, and DVD NOV 16