In present day, many years after the last of the Cabrini towers were torn down, Anthony and his partner move into a loft in the now gentrified Cabrini. A chance encounter with an old-timer exposes Anthony to the true story behind Candyman. Anxious to use these macabre details in his studio as fresh grist for paintings, he unknowingly opens a door to a complex past that unravels his own sanity and unleashes a terrifying wave of violence.... (Full plot summary below)
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In present day, many years after the last of the Cabrini towers were torn down, Anthony and his partner move into a loft in the now gentrified Cabrini. A chance encounter with an old-timer exposes Anthony to the true story behind Candyman. Anxious to use these macabre details in his studio as fresh grist for paintings, he unknowingly opens a door to a complex past that unravels his own sanity and unleashes a terrifying wave of violence.
Leave your thoughts about Candyman.
| The PlaylistLeslie Byron PittDaCosta’s continuation of the “Candyman” saga becoming not only fascinating but terrifying in how even the events of the first time are craftily repurposed depending on who’s mentioning the story and why. |
| ConsequenceOkla JonesCandyman pays homage to the original, while still maintaining its uniqueness with a fresh and provocative plot |
| ABC NewsPeter TraversThe scares are off the charts, but only as a means to confront the film’s thoughtful messaging about racial injustice. Dynamite star Yahya Abdul-Mateen II and director Nia DaCosta make you think hard about everything you see. Welcome to a new horror classic. |
| Los Angeles TimesKatie WalshDaCosta, who made her directorial debut with the remarkable abortion drama “Little Woods,” firmly announces herself as an artist at work with Candyman, a genuinely terrifying and artful horror film that speaks with a bell-clear voice to the current moment, the product of centuries of racist power structures. |
| Movie NationRoger MooreThis is horror with grandeur, a movie that pays homage to history and feels so of-the-moment as to seem fresh out of the lab...Candyman, the glossiest horror movie in ages, isn’t just horror. It’s horror that reaches for the Latin in that MGM (which produced the original film and gets co-credit here) logo we see in the opening credits — “Ars gratia artis,” “art for art’s sake.” |
| The Associated PressMark KennedyDaCosta can make a stroll down a well-lit, modern and clean hallway somehow creepy. This is confident, smart filmmaking. There’s a stunning scene in which the Candyman mirrors his prey’s movements and one in an elevator where blood droplets create their own horror-inside-horror. |
| RogerEbert.comOdie HendersonCandyman caters to fans of the original without sacrificing its own vision and story. |
| Chicago Sun-TimesRichard RoeperFrom the opening moments of Nia DaCosta’s gory yet strikingly beautiful and socially relevant “Candyman,” it’s clear we’re in for an especially haunting and just plain entertaining thrill ride. |
| IGNSiddhant AdlakhaNia DaCosta’s slow-burn sequel makes Candyman feel vital, both building on and course-correcting the movies in the series that came before it. |
| ObserverBrandon KatzCandyman feels like a reclamation project of sorts. One that will scare the pants off of you, yes, but also one that adds depth and resonance to the once-static slasher format. |
