Mirror, Mirror on the Wall: Who is the best Candyman in all the land?
I admit it: it wasn't easy for me to approach this sequel/reboot, not at all. When a work by Clive Barker is touched, I gasp, I'm aware of it. I loved the first Candyman, I lost count of how many evenings I spent watching it, and the thought that it differed too much from the original plot, well, I can't deny it, I took it a bit badly. Now, having said that, this re-adaptation is clever and well thought out, since, in the beginning it deviates from the initial narration, and then winks at it, in order to bring things back together and not make us scream, to us, yes, anchored to that old tradition that has only one first and last name: Tony Todd. The idea of making this myth a sort of avenger who leaves the duties to a new substitute wins well, and prevents too many from finding themselves turning up their noses (including myself).
< 0>Anthony is a painter from Chicago who is looking for inspiration for a new work they commissioned him; impossible to refute him, in my eyes he seemed like a forced artist, even a little unlucky. After hearing an urban legend, he clings to that story in search of a creative spark that could represent a worthy turning point for him. He thus begins to wander around Cabrini-Green, the neighborhood that was the protagonist of that now dead and buried story. The man accidentally runs into Burke, the owner of a laundry, who has a discreet desire to state numerous details, including the fable of the mirror and the name repeated five times.
Anthony develops an art exhibition on this theme, but does not achieve the desired success. As if that wasn't enough, after that risky epithet is uttered, an obviously announced massacre will begin. However, the juiciest and most interesting part will be discovering the real involvement of the dacoizer with Daniel Robitaille, well, I have to admit that at this juncture, the screenwriters place an amazing twist.
Good performance, he is capable of crafting a tough film that doesn't erase the origins, and adds a personal touch to an exceptional story. Yahya Abdul-Mateen II convinces in the role of a tormented individual, who in search of the long-awaited fame, will find himself condemned. The young hand of Nia Dacosta develops a resolute direction, although not comparable to that of Berard Rose. There is plenty of gore and the quality is almost excellent. So, what about folks? This is a very respectable product, it is worth facing it with a mocking smile in front of a mirror. Will you be able to reach the much feared number, or will your brain object, giving a flat refusal?
