Synopsis
The pain will be exquisite.
The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth.
The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth.
Virginia Madsen Tony Todd Xander Berkeley Kasi Lemmons Vanessa Williams DeJuan Guy Marianna Elliott Ted Raimi Ria Pavia Mark Daniels Lisa Ann Poggi Adam Philipson Eric Edwards Carolyn Lowery Barbara Alston Sarina C. Grant Latesha Martin Lanesha Martin Michael Culkin Bernard Rose Glenda Starr Kelly Kenneth A. Brown Caesar Brown Terrence Riggins Gilbert Lewis Rusty Schwimmer Baxter Harris John Rensenhouse Mika Quintard Show All…
Michael Barry Nigel Holland Ken S. Polk Ellen Heuer Laura Fried Reinhard Stergar Anne Pope Joan Rowe Sean Rowe Charles Ewing Smith Greg Steele Tommy Goodwin Tami Treadwell Leonard Marcel
Candyman : Le Spectre Maléfique, Candyman, El Dominio de la Mente, Кэндимен, Кондитер, Κάντιμαν, Clive Barker's Candyman, Candyman, el dominio de la mente, Candyman's Fluch, Candyman - Terrore dietro lo specchio, Şeker Adam'ın Laneti, Candyman: Spectre du mal, Candyman: El dominio de la mente, Kampókéz, 糖果人, קנדימן, Кэндимэн, O Mistério de Candyman, 캔디맨, El Misterio de Candyman, Кендімен, 腥風怒吼, مرد آبنباتی, キャンディマン, เคาะนรก 5 ครั้ง วิญญาณไม่เรียกกลับ, Sát Nhân Trong Gương, ქენდიმენი, Кендимен
Horror, the undead and monster classics Intense violence and sexual transgression Thrillers and murder mysteries Gory, gruesome, and slasher horror Terrifying, haunted, and supernatural horror Creepy, chilling, and terrifying horror Gothic and eerie haunting horror Twisted dark psychological thriller Show All…
white people love to say candyman five times and then get mad when they die like damn what’d you expect? a gummy worm? fuck off
Uses gentrification and academia in Chicago as an access point to the trauma of slavery being painted over in reconstruction, before jumping off into a moody urban folklore dream where historical pain is mythologized and martyred in the form of Tony Todd's Candyman whose incredible physical presence, reverberating voice and vicious acts of violence serve to draw (and heighten) his feelings of longing and rage into something tangible and fleshy. Between the excellent location work and Don't Look Now's cinematographer Anthony B. Richmond there's a lot of gorgeously grimy detail and texture to the images which amplifies Clive Barker's nasty writing (which shares a lot of Hellraiser's beautifully grotesque/perverse pain & pleasure elements) and Phillip Glass's beautifully dreamy score. Not quite…
90’s graffiti gothic Urban folklore loaded with subtext and oodles of everything that makes me love the first half of that decades horror way more than its much lauded second half. The grotesque Barker flourishes are gruesomely beautiful and startling, the Chicago setting and beautiful overhead shots works perfectly, the urban legend academia angle is equal parts interesting/disturbing, and that score is just to die for… the kind of hauntingly beautiful saccharine soundwaves that become legendary the second you hear it.
In a decade filled with some of my all time favorite genre jams, Candyman is perhaps My favorite 90’s horror film and a genre monolith if you ask me. The kind of movie that scared the hell out of me in my formative years and still manages to flex that terror clout almost 30 years later.
Special shoutout to all timer sleazeball Xander Berkeley—never trust a man who calls you sweetie pie.
Essential.
There are big ideas in this movie. The generational legacy of racist trauma, the ways that trauma can embed itself in the ground itself, and the extent to which our world is built on the wreckage of that trauma. Unfortunately, they aren’t carried through the length of the film. By the third act, the ideas are largely jettisoned. What’s left is still a thrilling and terrifying supernatural slasher, but I think the movie could have gone to so many interesting places if the filmmakers had carried through on the premise. Still, I see why this is a horror classic. Start to finish, it’s one of the most compelling movies in its genre I’ve ever seen.
Addendum: Compelling argument here that the through line of the film is white liberal fear of the black underclass.