by Matt St. Clair
When the 1992 horror classic Candyman made its way to theaters, audiences were introduced to a figure who serves as a representation of America’s original sin and a tragic monster akin to those from the classic era. The original Candyman (Tony Todd) pursuing grad student Helen Lyle (Virginia Madsen) has invited comparisons to The Phantom of the Opera, another lovelorn monster. But the latest direct sequel of the same name by director Nia DaCosta is less of a Universal Monster-esque tragedy.
Though it continues the original storyline, the new Candyman (2021) expands its racial commentary to tackle generational pain, police brutality, and gentrification...
As we see the luxurious high-rises of Chicago in the opening credits, which also occupy a now-gentrified Cabrini Green, ominous choir sounds can be heard.
Anthony McCoy (Yahya Abdul Mateen II), who was kidnapped by the titular boogeyman as a baby before being rescued by Helen Lyle in the original film, is all grown up. He's now living as a struggling painter with his girlfriend Brianna (Teyonah Parris). After a conversation with Cabrini Green resident William Burke (Colman Domingo), Anthony becomes intrigued by the legend of Candyman and channels its history into his art in order to advance his career. This leads to the creation of his exhibit called “Say My Name” and, as part of his show, Anthony persuades those who experience it to recite the famed mirror chant.
Bloody mayhem inevitably ensues with the murders taking a toll on Anthony’s sanity to the degree where he slowly becomes an incarnation of the legend he’s fixated on. This puts the film in body-horror territory in addition to its slasher origins. Yahya Abdul Mateen II gives a commendable performance that relies heavily on his physicality. The distress and panic on his face as Anthony’s body distorts sells the agony of transformation. Teyonah Parris is a capable scene partner as his girlfriend while Nathan Stewart-Barrett offers comic relief as her gay brother, Troy. That being said, great as the those three are, the acting MVP is perpetual scene-stealer Colman Domingo (who else?). Within the constraints of his short screen time, Domingo plays the accommodating William Burke with enough dubiety to make one wonder about his intentions.
The titular boogeyman is portrayed with yet more obscurity since his face remains hidden as he picks off his prey, a reflection of how Candyman isn’t a singular entity this time around. More than just Daniel Robitaille (Tony Todd), it’s also people like the deceased Sherman Fields (Michael Hargrove) and other Black people whose lives become lost due to racial injustice. As Burke once says, “Candyman ain’t a he. Candyman is the whole damn hive.”
By having various incarnations of Candyman, co-writers Nia DaCosta, producer Jordan Peele, and Win Rosenfeld are able to tap into the aforementioned theme of generational pain and how history feels doomed to repeat itself.
Because it also attempts to juggle being a commentary on gentrification as well as a straightforward slasher chiller within its condensed 91-minute run time, it doesn’t dig as deep on any theme as much as it could’ve. Yet, the concept of making Candyman even more of a manifestation than before is enough for it to find a successful medium between being both a continuation of and a deviation from the original film. With its slasher/body horror blend, and amalgam of racial themes, Candyman is heady with ambition. The concepts don't always come together, but Nia DaCosta proves her directorial eye. And, as with her debut feature Little Woods, she continues to excel with actors as the cast is in terrific form. B+