Review: Candyman (2021)
Sequels and remakes are nothing new to horror, let alone films. In recent years, a new trend has emerged: soft reboots. These are blur the line of remake and sequel by reintroducing the original themes or overall story while also trying to tell a story that serves to follow up on the original, and maybe ignoring any sequels that have occurred since. The real sin that these pseudo quasi in-between films commit is regularly sharing their title with the original. That is probably the worst thing that Nia DaCosta’s 2021 film does.
Candyman starts with an opening recognizing the original film but inverts it. Gone is the Phillip Glass score for something more ethereal and in line with modern horror. This setting of homage and originality continue throughout the rest of the film brilliantly.
A brief prologue shows the story of a new Candyman in Cabrini Green back in the 80s, and then we are introduced to artist Anthony and his girlfriend Brianna, her brother Troy, and Troy’s boyfriend. Troy tells a story, an urban legend about a grad student named Helen who goes on a rampage in the early 90s. They find it to be absurd, however, when Anthony finds himself struggling with his art, he decides to follow that story and meets William Burke who tells him about the legend of the Candyman and his experience with Sherman Fields, a man with a hook that was murdered by the police. The legend says if you say the name “Candyman” five times in a mirror, you’ll summon his spirit and he’ll kill you.
Anthony from this, creates a new art exhibit. It garners attention soon afterward when dead bodies are found near it. The legend spreads and more deaths occur. Anthony also begins to have strange experiences. Anthony also learns that Sherman wasn’t the only Candyman. The inspiration becomes an obsession that is ruining him and is reintroducing a legend that is seeking death.
This story really does follow a number of the same beats as the original does, however the ways in which it differs, and the way it is updated, and, frankly, even the story it tells, is all incredibly fresh. It would have been easy enough to rehash the beats of the original short story or film, having a female investigating the urban legend, or the graffiti in Cabrini Green. Enough time has passed that the same events could be played in the same world, which in itself could be a passable story. Instead, we’re given a different perspective with a black male, both aspects of that identity change how any rehash could work. The relationship with the titular character immediately is different. Anthony recognizes himself in it. The story is more personal than it ever was for Helen in the original film. Where Helen was attempting to prove her innocence, Anthony is attempting to figure out what is happening to him and what his connection is to it all. That change may be the singular change that makes the film more compelling.
While this film treads the themes of the original, it does so with deeper exploration and use of history. The use of the original as a groundwork gives a great basis that feels true, however the inclusion of actual murders is extra and communicates the importance and weight of the topic that they’ve found in the material. With that amount of work either done or included, the distance that the film can cover greatly expands. The creation of how urban legends are created, work together, and the purpose they serve all are easily within reach.
On that note, the delivery of the story in the direction is pure artwork. One of the most standout elements in the film is the scenes of storytelling. Rather than keeping on the reactions, DaCosta makes you feel like you’re part of it by using stylized shadow puppets and a rearranged version of Phillip Glass’ theme from the original. It’s a brilliant choice that is both simple and creative that proves to be incredibly emotional.
The performances at large are equally great. Yahya Abdul-Mateen II is great as Anthony. His downward spiral is excellent. He feels accessible and is the backbone of the entire film. Teyonah Parris as Brianna has her own story and motivations that make her strong and compelling all on her own. The standout performance though was Colman Domingo as William Burke. Domingo’s presence in every scene was magnetic. The character of Burke proves pivotal, and a miscasting could have proven fatal to the film. What Domingo does with his performance is incredible.
One of the strongest things in the original was the music. This one does not disappoint either. With an updated score, the music separates itself from the original and forges its own identity that helps it stand out from other horror scores, however it isn’t afraid to tap into the magic that was Phillip Glass’ music box theme while smartly limiting its use.
One of the other themes in the original that this film follows up on with a vengeance is racism. Racism is the reason this movie is important. Where race was important in the ’92 film, ’21 spotlights it. Much in the way that the theme of urban legends are more deeply explored from what the original started with one, the original changed the setting to Chicago and the casting of Tony Todd created something poignant, this film explodes it to its full potential. This theme was always there, and in the story of Anthony, they demonstrate the reality of a black man in America and the way history continues to repeat itself.
The 2021 Candyman is a far cry from the original story Clive Barker wrote but it may be the clearest of any of his adaptations and elevates the story of The Forbidden to something that will stand a long test of time. This is an easy recommendation that succeeds on all accounts.
