Movie Review ~ Candyman (2021)

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The Facts:

Synopsis: For as long as the residents can remember, the housing projects of Chicago’s Cabrini Green neighborhood were terrorized by the word-of-mouth ghost story about a supernatural killer known as Candyman, easily summoned by those daring to repeat his name five times into a mirror. A decade after the last of the Cabrini towers were torn down, a visual artist’s chance encounter with a Cabrini Green old-timer exposes him to the tragically horrific nature of the true story behind the Candyman, unleashing a terrifyingly viral wave of violence that puts him on a collision course with his destiny

Stars: Yahya Abdul-Mateen II, Teyonah Parris, Tony Todd, Nathan Stewart-Jarrett, Colman Domingo, Vanessa Williams, Rebecca Spence, Kyle Kaminsky, Christiana Clark

Director: Nia DaCosta

Rated: R

Running Length: 91 minutes

Trailer Review: Here

TMMM Score: (9/10)

Review:  Even as the Delta Variant rages through the U.S. and hints of another shutdown begin to loom large, films that were delayed from a year ago are sliding into theaters and making their rescheduled dates and for that I’m grateful.  Of all the movies that were bumped around the calendar due to the original pandemic lockdown in 2020, I was most disappointed that producer Jordan Peele’s ‘spiritual sequel’ to 1992’s Candyman was affected because as a huge fan of the original I was looking forward to what Peele and director Nia DaCosta could do with this property.  More than that, I was intrigued to see what it was going to be in the first place.  We knew it wasn’t a remake, but was it a direct sequel, a stand-alone film, a re-imagining of Clive Barker’s short story “The Forbidden” that inspired the first movie?  We had to wait a whole year to find out but Peele (Us) and DaCosta kept us engaged along the way with creative trailers and morsels of hints that showed more of the movie yet still didn’t reveal all of their cards.

As it turns out, this is one of those films that was well worth the wait.  A rare delight that pays service to fans of the original while addressing a new generation of devotees that have come onboard over the years (and maybe during this last year alone), DaCosta’s Candyman picks at the fabric lining the jewel box the 1991 movie was placed in and uses it to craft a horrific new garment all its own.  There’s a distinct voice present throughout that isn’t just Peele’s with its direct or indirect societal symbolism but a generational one that lives, works, fears, and loves in the environment DaCosta and her crew probe to terrific results.  That it manages to cover a lot of ground in such a short time frame without ever feeling rushed is a testament to efficiency on all levels.

The original Cabrini Green towers have long since been torn down but their dark history remains nightmare material only spoken about in hushed whispers or, better yet, not at all.  Now, new housing has been built on the same site and after a brief prologue set in the late ‘70s we meet two new tenants of the gentrified Cabrini.  Brianna Cartwright (Teyonah Parris, Chi-Raq) and her artist boyfriend Anthony (Yahya Abdul-Mateen II, Aquaman) are settling into their new digs when Brianna’s brother (Nathan Stewart-Jarrett, The Kid Who Would Be King) tells them the story of Helen Lyle, a grad student that went crazy after visiting Cabrini looking for an urban legend known as Candyman.  With a hook for a hand, the killer was said to haunt the projects and called Cabrini his home, but Helen took the investigation too far, becoming obsessed with her own research, killing numerous people, and abducting a small child that almost died at her hands before she was finally burnt alive.  Scary stuff that Brianna doesn’t want to know about. (But viewers of the original know the story isn’t quite accurate…)

Once stunted artistically, the terrifying tale inspires Anthony in surprising ways.  Researching Candyman by visiting the old part of the neighborhood and meeting a long-time resident (Colman Domingo, Without Remorse), he comes away with a new zeal for expression, just in time for an art show at the gallery Brianna works at.  The piece he creates is a mirror and he provides instructions on how to ‘call forth’ the Candyman by saying his name five times to your reflection.  One unfortunate soul does it, then another, and before you know it, bloody death is everyone around Anthony…but is he to blame for all the carnage or is he simply fulfilling a destiny that started long ago and was never truly finished?  Perhaps a visit to his mother Anne-Marie McCoy (Vanessa Williams) will explain it all…

Originally written as a short story set in London’s tenement neighborhoods, the director of the 1992 film wisely moved the action to Chicago’s projects and it gave the film some credibility as a statement on how communities create their own legends.  Sometimes it is to protect themselves from the evil that lurks within but often it can be to keep the more wicked outsiders from entering.  Peele, DaCosta, and co-screenwriter Win Rosenfeld latch onto that notion and run with it, exploring how the tale of Candyman has evolved overtime and why it’s possible that a society might need a Candyman just as much as he needs them to believe in him.  It’s surprisingly not as tangled or heady as it could have been and the script isn’t interested in making more out of it than that. 

I also appreciated that while this new Candyman is brutal in its violence, much of it is restrained and either shown at a distance or just offscreen.  After the last year, many of us have seen death firsthand and so anything we see portrayed on film could never been as disgusting or horrific as what we’ve witnessed real people, not actors, doing to each other.  When it’s appropriate, DaCosta lets the audience have it but there’s ample build up to get to those moments of bloodshed.  Accompanied by stellar production design from Cara Brower (Our Friend), unique cinematography by John Guleserian (Love, Simon), and a nerve-jangling score courtesy of Robert Aiki Aubrey Lowe, all of the elements are there to keep you on the edge of your seat, breathless, waiting for the next shock to arrive.

There was a time when remakes of these old titles felt like betrayals of trust but when they’re handled with such intelligence and care like Candyman has been, I find that I can relax a little bit when the next one is announced and hope that future filmmakers learn a thing or two from it.  This is how you take a fan-favorite property and do something of your own with it, while at the same time allowing that previous film to live on (and thrive) because your film is equally as terrifying and well-crafted.  Sweets to the sweet is a famous bit of graffiti seen on the walls of Cabrini Green in the original film and that goes double for DaCosta and her crew.

31 Days to Scare ~ Bad Hair

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The Facts
:

Synopsis: An ambitious young woman gets a weave in order to succeed in the image-obsessed world of music television circa 1989. However, her flourishing career comes at a great cost when she realizes that her new hair may have a mind of its own.

Stars: Elle Lorraine, Jay Pharoah, Lena Waithe, Kelly Rowland, Laverne Cox, Chanté Adams, Judith Scott, James Van Der Beek, Usher Raymond IV, Blair Underwood,  Vanessa Williams

Director: Justin Simien

Rated: NR

Running Length: 115 minutes

TMMM Score: (3/10)

Review:  Not that I have much of it to speak of now, but there was a time when getting a haircut was a big deal.  When I started making my own hair decisions (meaning, my dad stopped taking me to his barber and telling him to “give me the usual”) it took a while to find the right person to give me the cut I wanted.  Looking through the men on both sides of my family I knew I was fighting a losing battle so was always prepared for the end.  Until that time, though, I was going to treat my hair with flair.  So I get the way that hair plays a huge part into the way we feel about ourselves and why a haircut during a difficult time in our lives is often the way we first signal a change is necessary.

In 1989, I think I had those horrible parallel gradient lines buzzed into my hair (all photo evidence has been destroyed or is in a safe location so don’t go looking for it) but for Bad Hair’s Anna Bludso (Elle Lorraine), her situation is far worse.  As a child she had a bad run in with a poorly applied relaxer and her scalp has never been the same, forcing her to keep her style largely natural to avoid any further irritation.  Normally, this would be something most of us could live with but Anna’s working in Los Angeles at one of the hottest music networks (think MTV but run by a James Van Der Beek type, played by James Van Der Beek) and dreams of becoming a host on their popular video program.

When her team undergoes a restructuring, she impresses her new boss Zora (Vanessa Williams, Miss Virginia) with her ideas but not her looks.  The ex-model suggests Anna start with her hair and offers the name of a stylist that had recently worked wonders on singer sensation Sandra (Kelly Rowland).  Determined, Anna heads to Virgie’s (Laverne Cox, Charlie’s Angels) where the cryptic woman helps her find the perfect weave.  Armed with a glam new look and a fresh aura of confidence, Anna is set on a path to success only to be derailed when her locks begin to display strange, life-like behavior and a fondness for blood.  Possessed by her hair, no one is safe from Anna’s tresses of terror.

Writer/director Justin Simien’s film has so many things going for it that it depresses me to no end to report that Bad Hair (streaming on Hulu starting 10/23) isn’t the fun bit of campy horror it sounds like it’s going to be.  True, there are moments of wit and some humor to be had from the observances from the time and the cultural norms of the day, most of it provided by Lena Waithe (Queen & Slim) as Anna’s co-worker who already hosts her own show.  The biggest problem going on here is the severely poor special effects that sink an already shaky ship.  Plenty of films can skate by with a small budget and decent special effects because they know how to work around them.  However, in Bad Hair, Simien relies so much on terribly rendered effects that its robs the actors and action of any credibility or suspense because the viewer is totally taken out of the moment thinking about the poor quality of what’s onscreen.

You can also add an unnecessarily long run-time to the list of thumbs-down factors because at 115 minutes, Bad Hair needs a good trim.  It’s simply too long and unruly to justify that length and the time it does use up it doesn’t dole out wisely.  Not enough effort is spent to set-up the acknowledgement that something awful is happening in the offices of the music network – people are vanishing left and right courtesy of the hungry hair yet there are hardly any establishing scenes showing anyone is discussing this.  Basically, it’s just a series of scenes of Anna’s weave acting wonky and then the next event happens.  There’s a mass slaughter of key players and all is well the previous day.  Did they not have the police working back then?  The first twenty minutes are so cleverly constructed that you wind up wondering where all that creative energy went in the final 90 minutes that seem to stretch on forever.

The best thing to come out of this experience is getting to know Elle Lorraine as the dynamite lead of the film.  Whatever I thought about the movie, its effects, or its pacing, there’s little denying that Lorraine is a bona fide star and will go on to better things after this.  She’s practically the only person other than Waithe and a great Judith Scott as Anna’s ousted boss, who feels like they realize they’re in a feature film.  Everyone else is strictly playing for a television audience, none more so than Vanessa Williams.  Oh dear.  Vanessa. Williams.  Playing her umpteenth ex-model witchy backstabbing narcissist, I simply don’t see the rationale for Simien using her for this role.  Bringing nothing new or interesting to the role and developing into exactly what we think she will, Simien lost a chance to go after someone unexpected not known for playing this type of maneater and non girls-girl to play a type of role Williams has got the market cornered on. What a flat, boring,  uninspired casting choice on a grand scale.

I almost feel like a broken record saying this but I get to thinking that Simien’s story started out as an episode for some anthology series or film that he then expanded to full-feature length.  It doesn’t have the substance to qualify for that expansion, even though a head-spinning ending created a twist so devious (and, yes, interesting) I wish the actor involved had been in two or three more scenes so their reappearance made more sense.  If you’re going to attempt a final zinger like Simien does, you have to set it up better and, like many things in Bad Hair, it isn’t fully realized.  I expected much more from this and had hoped it would have found the same Little (Hair)Shop of Horrors vibe it felt like it wanted to go after.  Instead, the effects weren’t even comically bad in an Ed Wood sort of way.  Very disappointing.

The Silver Bullet ~ Candyman (2020)

Synopsis: 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.

Release Date:  June 12, 2020

Thoughts: As I recalled in my 31 Days to Scare review, 1992’s Candyman remains one of the rare movies that still manages to frighten me to this day.  It scared me terribly when I first saw it and I get a little rush of sweat in my brow when I know I’m going to be seeing it again.  It’s just that well-crafted of a horror film.  So I was more than a little curious when a remake was announced, thinking it was just another in the long-line of ill-conceived reboots that no one asked for.  It’s when Oscar-winning screenwriter and surging director Jordan Peele (Us) came on board to co-write the script and director Nia DaCosta signed on to direct that I really got interested and if this first trailer is any indication, this 2020 Candyman is going to pack that same scary sting as the original.  With an enviable cast including Yahya Abdul-Mateen II (Aquaman), Teyonah Parris (Chi-Raq), Colman Domingo (If Beale Street Could Talk) and even original cast member Vanessa Williams (no, not that one) returning as what looks to be the same character this one is something to look forward to.  Looking over the cast on IMDb reveals Peele is either making a sequel ala the recent Halloween or remaking the original with a twist…either way I’m in for some sweet screams.

Movie Review ~ Miss Virginia


The Facts
:

Synopsis: A struggling inner-city mother sacrifices everything to give her son a good education. Unwilling to allow her son to stay in a dangerous school, she launches a movement that could save his future – and that of thousands like him.

Stars: Uzo Aduba, Matthew Modine, Niles Fitch, Vanessa Williams, Aunjanue Ellis, Adina Porter, Amirah Vann

Director: R.J. Daniel Hanna

Rated: PG-13

Running Length: 105 minutes

TMMM Score: (6/10)

Review: Growing up, the hardest subject for me to master was math.  It took a while to get the basics but after I did, it was easy to spot the patterns once I figured out the formulas.  It all boils down to a simple equation that, no matter the length or contributing factors, follows a strict guideline without deviation.  It allows for confidence in solution and outcome and, often, predictability from the start.  You can apply the same algebraic analogy to a movie like Miss Virginia, a drama inspired by real life events which runs down a checklist of oft-used devices to come up with an expected, if only occasionally stirring, resolution.  It may not be incredibly thought-provoking filmmaking, but it does have a certain passing charm.

In 2003, Virginia Walden Ford (Uzo Aduba) was a single-mother raising a 15-year-old son in Washington D.C. who we first meet in the principal’s office at her son’s inner-city public school.  Finding out James (Niles Fitch, Roman J. Israel, Esq.) has been skipping school without her knowledge, she imparts on him the importance of applying himself only to wind up back in the office a short time later when James is caught bullying another student, though we know he’s only guilty by unfortunate association.  Frustrated by the lack of support from the administration and afraid of seeing her son withdraw further into a troubled life she enrolls him at a nearby private school and takes on an extra janitorial job for Lorraine Townsend (Aunjanue Ellis, If Beale Street Could Talk), a congressional representative, in order to pay the high tuition fee.

As she gets to know Lorraine, Virginia educates herself on a flawed structure that funnels money into the public school system when it could be used to provide scholarships/vouchers for low-income students to attend private schools.  Wanting that for her son, she attempts to get Lorraine on board, only to find the helpful ear she thought she had might already be bought and paid for by a town full of lobbyists.  Organizing a grassroots campaign, Virginia pounds the pavement and stirs a community with similar interest for their sons and daughters, putting a target on her back along the way.  When she joins with a popular but eccentric congressman (Matthew Modine, Pacific Heights) she enters the big leagues and her personal life becomes fair game used by the opposition to discredit her platform.

As a feature film, Miss Virginia plays a little light in the dramatic heft department.  Without any strong names to ground the picture it has the feel of a made for television movie that found its way into your local theater.  That’s not a dig on the actors in any way because the performances across the board are delivered with the exact amount of Serious Importance (save for Vanessa Williams doing her umpteenth catty arched eyebrow role) but watching the film from home I get the impression it played better than it would on a screen 50 times as large.  There’s not a lot of flair to R.J. Daniel Hanna’s direction and certainly not to Erin O’Connor’s so-so script.  O’Connor seems to be ticking off boxes in a how-to book for screenwriters with these types of films, including an unfortunate late-breaking incident meant to create an additional dramatic push forward for the community that only serves to remind audiences how derivative a turn the movie is willing to take.

I’m surprised that it’s taken this long for Aduba to appear in such a prominent role in a movie.  An Emmy-winning breakout star on Netflix’s Orange is the New Black, Aduba has been busy with that show for the last several years but with that series wrapped I look forward to seeing her more in roles that give her a chance to show a different side.  While she isn’t always successful in transitioning her internal feelings to the external, you can see her working through Virginia’s incredulity with a system that seems designed to see her fail and her determination to prevail shining through.  With his hair looking as crazy as his accent sounds, Modine is quirky but never dull as Virginia’s Capital Hill insider and the two work well together.  Modine is making some interesting choices here, I’m not sure it totally works, but I liked it whenever he was onscreen with Aduba.  A special shout-out to Amirah Vann (And So It Goes) as a woman in Virginia’s neighborhood that joins her cause, bringing some vitality to the movie when it starts to sag.

Not being familiar with Virginia Walden Ford or the landmark D.C. legislation she had a hand in securing before seeing Miss Virginia, I’m glad this one came my way.  It’s pleasantly light in the political area, steering clear of the stumping and denser legal maneuvering in favor of a more personal engagement narrative.  Though generic in tone, it’s big in spirit and intention.  I wouldn’t make it a priority to catch this one in theaters, though do add it to your streaming queue when it shows up there shortly.

31 Days to Scare ~ Candyman

The Facts:

Synopsis: 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.

Stars: Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons, Vanessa Williams, Bernard Rose, Michael Culkin

Director: Bernard Rose

Rated: R

Running Length: 99 minutes

TMMM Score: (9/10)

Review: Growing up, I watched many horror movies and usually found them more funny than actually scary. Most of the films I saw had a heightened sense of reality so you could always tell they were operating in the confines of a fantasy world and not based in reality. It was easy to disassociate with the blood and gore because you would see the edges of the make-up applied or would jokingly feel that the characters got what was coming to them for going camping in the woods where a madman was rumored to be lurking.

Then there are movies like Candyman.

As a teen, I remember seeing this some weeknight with my dad at the Mall of America (RIP General Cinema!) and not really knowing what to expect. Yikes, I was in for a shocking treat. Based on Clive Barker’s short story (which I read a few years ago and found quite spellbinding) and adapted by director Bernard Rose who changes the action from the UK’s rundown council house neighborhood to Chicago’s inner city slum, Candyman has had a lasting impression on me throughout the years. How can a movie I’ve seen at least a dozen times still make me keep a light on at night, still send a chill up my spine, still make me dread certain passages?

Grad student Helen Lyle (Virgina Madsen, Joy, an inspring choice) is doing a study on modern urban legends with her colleague Bernadette (Kasi Lemmons, The Silence of the Lambs). While interviewing subjects they hear the tale of an invisible killer with a grotesque hook for a hand now said to haunt Chicago’s famed Cabrini Green housing project. Dubbed Candyman over time by the superstitious locals, Helen and Bernadette investigate the claims in an effort to support their thesis. The deeper into the mythology of Candyman (Tony Todd) Helen goes, the greater the danger as her cavalier skepticism rouses the fabled slayer to show up and make an example out of her.

From the very first shot in the title sequence set to a creepy as hell music box score from Phillip Glass, your spidey senses should be tingling. Rose isn’t interested in bringing forth a supernatural creature that can’t be identified but in presenting the myth of a dangerous figure than manifests itself in reality. On more than one occasion it’s suggested the residents of Cabrini Green are harboring this creature or attributing other crimes to him as a way to ward off urban sprawl and keep people away.

The film takes its time to get to the madness and when it does it unleashes some fairly grotesque imagery and copious amount of blood. It all seems just a hair above slasher film territory but it’s interested in being more classy than truly exploitative. When bodies start to turn up and a baby goes missing, Helen herself is implicated as a possible killer and must track down the heart of the legend to clear her name and save an innocent life. The finale is a bold move by the filmmakers, even if they pander to the audience with a gruesome (if satisfying) epilogue.

You have a lot of options for scary movies around Halloween and Candyman might already be on your watchlist. If it isn’t, consider replacing one of the more obvious choices (Halloween, Friday the 13th, A Nightmare on Elm Street) and check out this modern horror classic. It’s followed by two sequels, with only the first (Candyman: Farewell to the Flesh) of possible interest if you liked this one.

The Silver Bullet ~ Tyler Perry’s Temptation: Confessions of a Marriage Counselor

tyler_perrys_temptation_confessions_of_a_marriage_counselor

Synopsis: A marriage counselor’s personal and professional life becomes complicated after she enters into a relationship with one of her clients.

Release Date: March 29, 2013

Thoughts: I have zero interest in seeing the latest film from the one man studio that is Tyler Perry.  I’m including it on my blog only to point out that if Perry’s films were as interesting and creative as his posters, he could really be a force in Hollywood.  It makes no difference, though, because Perry continues to churn out these thinning tales of morality doled out with a hackneyed hand that just doesn’t speak to me.  I realize I’m not the target market for these preachy relationship-oriented films he loves to make when he’s not dressed in drag as Madea (though he sometimes does fit her in somehow) but I’m waiting for Perry to let loose a bit more which I think will help improve him as a writer/producer/director/actor.