As horror continues to be the saviour of the COVID-recovering theatrical landscape, a new reboot-quel (that being a horror series of yesteryear being given a lick of new, contemporary paint that neither requires prior franchise knowledge but also acknowledges its roots) finally arrives with us. Delayed for the big screen, Nia DaCosta's sophomore feature hopes to scare up a sweet and scary treat for audiences who have patiently waited for the return of Candyman.
When upcoming artist Anthony is told the story of Candyman, the legend inspires his work - and quickly begins to consume him. As his sanity unravels, a wave of violence threatens to again terrify a gentrified Cabrini-Greene. Directing a screenplay she co-wrote with producer Jordan Peele and Win Rosenfeld, based on the previous three films and the short story "The Forbidden", DaCosta seeks to leave her stamp on the slasher genre.
A film of impassioned intentions and with a strong line-up of talent, Candyman has everything going for it as the next great genre flick exploring important contemporary themes. Unfortunately, mostly due to an uneven screenplay and a distinct lack of scares, the misfire in execution results in an incredibly disappointing, if not entirely pointless, feature.
Focusing on topics such as gentrification, art, legacy and suffering, the film exists to be as socially conscious as it can be; unlike many others of its ilk, it wants to prove that there is room (and need) in the 21st century for a reboot-sequel to exist. And while its relevance is clear for anyone to see, it feels as if these themes are so central that everything else feels like an afterthought - and more often than not is at the expense of narrative and genre. The story itself is uneven and a little messy, yet somehow disappointingly generic, with few of the twists and turns that reference the original film landing with the surprise and thrill they are supposed to.
Thankfully, DaCosta demonstrates her talent as a director, with a keen eye for detail. With gorgeous framing courtesy of cinematographer John Guleserian and some beautifully creative animation that infuses the film with a storytelling element that emphasises the mythological roots of the Candyman tale, it is undoubtedly a marvel to look at. But what are beautiful visuals when a horror film is without its scares? There is just a sole mid-film sequence that is (incredibly) well-executed and delivers on the violence a scorned man with a hook for a hand promises, but the rest of the runtime is relatively free of anything that frightens or remotely unnerves. It's so disheartening that a genre picture fails to succeed with the one element that should be front and centre.
Candyman's ensemble is a strong group that manage to maintain your attention through the uneven storytelling. Yahya Abdul-Mateen II's tortured artist is skilfully played both sympathetically - as an artist eager to create but struggling to nail a confident vision - and arrogantly - as a man somewhat blinded by his own importance and ability. It's a really well-balanced turn that grounds the feature through its bumpier patches. Colman Domingo performs with impressive conviction, despite being stranded with exposition-led dialogue, while Teyonah Parris' frustrated wife role could feel one-dimensional but becomes an interesting character in where she stands in regards to gender, class and race because of the life and depth she breathes into it.
So intent on being a fiery, resonant sign of the times and cautionary tale, the latest Candyman forgets it needs to scare you in the process. Despite genuinely impressive visual stylings and a great showing of control and creativity from DaCosta, this reboot of a series that should feel more vital than ever before struggles to marry theme, genre and narrative together and so plays out in such an uneven fashion that disappoints in its inability to streamline. A film that summarises the phrase 'less than a sum of its parts', there's a lot to admire about Candyman, no more so than its ambition and passion - but the overall execution leaves a sour taste.