I like the new Candyman. I don't love it, but I like it a lot. This film co-written and directed by Nia DaCosta wants to be the Wes Craven's New Nightmare of this franchise, and whenever it reaches that level, it hits a home run — especially when it comes to the eponymous monster, who has never been more sinister or menacing (Tony Todd, who originated the role in 1992, appears in a limited but effver mais...

_Candyman's_ story was intriguing and with spectacular visuals it is a decent watch, but for a horror film there was a significant lack of... horror. At no point in the film was there tension, dread, or a sense that I was being lead to a thrilling climax, it was more of a character study on Candyman. The character study aspect was great, I loved hearing the mythos of Candyman from different peoplever mais...

I'm a huge fan of Tony Todd as Candyman and always have been, this was a good story and the actors play their parts very well. However afterward it was kind of ruined for me when they all started talking about it being about racism. Why did they have to make it about racism when it was enjoyable as a horror movie?

I rewatched the 1992's Candyman in preparation for Nia DaCosta's (Little Woods) direct sequel, so I could get the most out of it without having to force my memory to kick in. Despite being addicted to Philip Glass' score of the original film, Bernard Rose's take on Clive Barker's short story isn't exactly one of my favorite classics, even though I appreciate it quite a bit. Expectations-wise, I diver mais...