Amon Warmann

No list of cinema’s greatest boogeymen is complete without Daniel Robitaille, AKA Candyman. First unleashed in 1992, Tony Todd’s hook-wielding monster made victims of any resident in Chicago’s Cabrini-Green project foolish enough to say his name five times, bringing a combustible mix of frights, and social and racial commentary to three films. Nia DaCosta’s self-billed ‘spiritual sequel’ resurrects that vengeful spirit – and it’s just as terrifying and timely as ever. This time, the story is focused on Anthony McCoy (Yahya Abdul-Mateen II). He’s a painter living in a now-gentrified Cabrini-Green with his girlfriend Brianna (Teyonah Parris), an art gallery director. Searching for inspiration on his next project he decides to investigate the Candyman phenomenon, but soon finds that he’s connected to the urban legend in more ways than one. There are multiple moments within that set-up where Candyman earns its stripes, with welcome moments of levity (most notably from Nathan Stewart-Jarrett as Troy, Brianna’s brother) sprinkled in among the scares. But as is befitting of any project that bears Jordan Peele’s name (the Get Out director co-writes and produces here), there is a lot to unpack. The idea of inherited trauma is expanded on in fresh, exciting ways, while the conflict caused by gentrification is foregrounded far more than in the original – one of many benefits to having a Black director calling the shots. Indeed, it’s because of this that one of the film’s most pointed an