The original Candyman movie was a surrealistic sociopolitical thriller about the harms and dangers of miscegenation. The Clive barker flick from 1992 starred Virginia Madsen as a researcher looking into the mythos of an urban legend within a black ghetto community. The remake from Jordan Peele and Nia DaCosta decided to do away with the horror-movie-as-a-warning label and instead focus on more modern day propaganda by race and gender-swapping the lead.
The film stars two people most movie-going audiences have never heard of, Yahya Abdul-Mateen II and Teyonah Parris. Not only have most people never heard of them but no one will still know who they are even after the rebooted and remade Candyman hits theaters in June, because I can almost guarantee you this film will be a flop.
You can check out the trailer below courtesy of IGN.
Majority of America are sick and tired of race-related identity politics being foisted upon them by entitled Leftists from Hollywood, and no person in their right mind will let a half-and-half dictate to them what they should find entertaining, much less what should be deemed “politically correct”.
The movie itself is all over the place.
The trailer depicts an artist who magically one day decides to dedicate an art exhibit to the Candyman urban legend.
Why? Who knows.
The setup isn’t scary at all, and the eye-rolling premise detracts from any need to take it serious.
The original Candyman was a movie that was themed around topic matter that flirted with the taboo: a black man having an affair with a white woman, who was killed for his crime by being suffocated with bees.
He was a vengeful spirit that latched onto fear and curiosity as an anchor for his murderous rampage.
It wasn’t a masterwork by any stretch of the imagination, but director Bernard Rose used the mystery of the Candyman’s demise and his selective targets to weave the viewer’s intrigue in with Helen’s unfettered fascination. It worked because you were left wondering how much of it was actually Helen and how much of it was the Candyman.
The movie’s threading of nightmarish antics with surrealistic color composition and set pieces made it difficult to know when Helen was dreaming or awake, adding further to the overall suspense.
The original movie reminded me a lot of the third segment from The Necronomicon from Brian Yuzna called Whispers, just far less harrowing or scary.
Unfortunately everything that made the original unique for its time has been erased by the ever-growing arm of “diversity”, which is just codeword for “anti-white”.
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