NSAndiman, in his first incarnation, gently emerged from the mirror in 1992, in writer and director Bernard Rose US group version From Clive Parker’s novella The Forbidden, a tale of English class disgrace set on a Liverpool residential estate. Rose transformed the venue into Chicago’s underprivileged Cabrini-Green Enterprises, transforming Satan’s racial identity from white to black and giving moviegoers a premise that inspired exactly how he is called out by unbelieving interlopers and laughing teens. Since then, Candyman has produced sequels, references, memes and gags: Like Handyman – say his name five times in the mirror and he shows up three hours later doing a horrifying job on your boiler.
Now, director Nia DaCosta, working with writer and producer Jordan Peele, has created a gorgeous, harrowing and highly sophisticated reboot of the Candyman legend. DaCosta over credits brazenly, if inevitably, uses Candy man song From Willy Wonka and the Chocolate Factory – This is based on Roald Dahl’s novel It is also obvious that he created the cute baby hunter game in Chitty Chitty Bang BangI think there could be someone’s master’s thesis here.
DaCosta cleverly refined and developed Candyman as an expression of outrage against racism in the era of Black Lives Matter, a supernatural cry of weapon against Jim Crow and its consequences; Her film examines Candyman as a symptom of inequality, poor housing (symbolically emerging from a broken inner wall) and the consequent phenomenon of gentrification. In some ways, Candyman was a descendant of Laurence Fishburne Furious Styles character from Boyz n the Hood, Rail against the locals Get quotes from their own neighbourhoods. And the film features ideas about how Candyman’s identity was shaped not by an individual creator, but, like Godzilla after the nuclear strike, as a therapeutic and respiratory fantasy of the collective unconscious. And as it happens, this new movie also indirectly alludes to this key question that has silently tormented for decades by Candyman fans: How long should you leave it between saying it for the fourth and final time, before Candyman considers it a reset and makes the fifth “Candyman” the first? ?
The scene now is the modern era Chicagoand young, modern artist Anthony McCoy (Yahya Abdul-Mateen II) lives with his stylish partner Brianna Cartwright (Tiona Paris), who works as a curator and gallery curator. They live in a luxurious luxury apartment built on the site of the old Cabrini-Green neighborhood, which has been mostly demolished, leaving only rows of abandoned and crawling low buildings. Brianna’s brother Troy (a typical elegant performer from Nathan Stewart Jarrett, in which he definitely delayed the starring role) tells them about the Candyman legend, and for Anthony he’s an artistic inspiration. He wanders around the remains of Cabrini-Green (a very creepy day-lit scene) and creates a piece called Say My Name, a painting behind a mirror before which visitors to the gallery are invited to repeat Candyman’s summons five times. And when a cynical white teenager and an arrogant white critic show up to look at it… well, they have the life expectancy of red-shirted crew members from the USS Enterprise.
There are some pretty amazing moments: Anthony is murderously cocky and shallow, unable to suppress a smile of triumph in the somber TV news story about the Candyman-related horror in his gallery show, which he mentioned (“They said my name!”). Dacosta invents a very strange death scene, a murder we see from afar, with a long shot, while quietly pulling her camera away. This movie is a very delicious dessert of irony and contempt.