Candyman

Several years ago, I would begin most of my horror reviews with something like:

"Oh, I'm not really a horror person. It's my least watched (maybe least favorite) genre!"

Slowly, and with some really high quality films - and a few bad ones - I feel like I'm well versed in this genre. I think I also chose a good time to do so as "horror" feels like it's making a comeback from many low-quality, low budget films to now higher-quality, memorable, but seemingly low-budget (in a healthy way) films. 

Candyman, for example, is a movie I've been looking forward to a while now. I know literally nothing about it outside of the trailers, but it's the attachment of Jordan Peele - responsible for two of my favorite horror movies in the past several years - that has me interested. Sure, the concept and actors involved carry intrigue, but ultimately I'm willing to give most things a bet that have Peele's name attached.

What I found with Candyman was a film that comes so close to being just *chef's kiss* that I'm half surprised Peele didn't direct it himself. It would stand nearly toe to toe with his freshman and sophomore efforts and at a breezy 91 minutes, it's the rare Hollywood film that doesn't overstay its welcome or try to do too much these days. 

Director Nia DaCosta should be proud of her film here because there's a lot it owes to her decision making and control. For starters, the whole thing feels...grand...as if it's building the myth and legend of Candyman right before your very eyes. A lot of this is owed to some excellent cinematography all throughout the film. The opening credits are a subtly trippy angled, under-view of the skyscrapers of Chicago while the most tense parts of the film expertly bring the camera in close (but not too close) to make characters fill up the screen, with a mirror always in sight. Each scene and frame of this film feels well thought out and necessary. Pair that with editing that lets the horror and action breathe, some gruesome, violent kills, and a strong, but underused soundtrack and you have the "behind the scenes" stuff that I often refer to as the stuff that can make or break a film. 

"Excuse me sir! This exhibit is closed!!"

Surprisingly NOT blood!

It's a bit of a shame then that the story comes so close, but stumbles in comparison. These shortfalls didn't ruin how much I enjoyed the film, but the path to the ending feels messy and almost unfinished. It's kicked off with a twist that feels out of place and then we seemingly jump from a slowly degrading character to a downright off-the-rails one. Throughout the film, there's backstory provided via paper puppetry that doesn't sound as bad as "paper puppetry", though I still wasn't a fan. Glancing around the un-epic backstory method and messy segment though, this story lends itself to that "grandiose" feeling. For starters, it's themes are highly relevant, if not very on the nose. There's much to be said about the gentrification of some of Chicago's poorer neighborhoods and the treatment of black people as a whole. This feeds the mythos of Candyman, his reason for existence, and how he gets his "power". The finale is a thrilling one that ends on the right moments, the right beat, and the right tone. 

We also get powerful performances from Yahya Abdul-Mateen II (which is no surprise at this point), Teyonah  Parris, and Colman Domingo. Between the three of them, they carry the film, even with varying screen time. Abdul-Mateen is the clear focus, and is fairly magnetic throughout. His descent and obsession with the story of Candyman is impressive and really only hindered by being rushed near the end (the aforementioned "messy ending"). Colman Domingo is a side character mostly, but his performance captured me, partly because of his distinct voice, but also because of the pain and hurt he's able to convey.

Candyman is a topical, well-made horror film. It's moody and strikes the right tone while feeling grandiose, probably more than it has any right to. It definitely has the frights and gore you may be looking for, but I think mainstream audiences will appreciate it for elements past that: its visuals, music, performances, and themes. But stay away from mirrors and keep your mouth shut!

CONS

• Some of what it has to say on modern-day topics are a bit on the nose
• The path to the ending gets messy and is ultimately the film's biggest mark against it since it starts and ends strong
• In particular, I wasn't a huge fan of a last minute twist that felt off
• Original score isn't used enough for how great it is!
• Not a fan of the "puppet" backstory devices

PROS

• Great performances. Abdul-Mateen II leads the film with skill and magnetism
• Feels rather epic, thanks to a lot of "behind the scenes" stuff. Strong direction by Nia DaCosta
• Impressive and thoughtful cinematography
• Memorable original score
• Solid scares and gore. It was more violent than I thought
• Topical themes and story
• Short and sweet!

Rath's Review Score | 8.5/10