Candyman is an A movie desperately trying to break out of its B-movie body, like a 12-year-old boy wanting to prove his manhood. It is a slasher film, but it pushes and tugs and stretches to become something more. That it succeeds at all is pretty amazing.
As a horror movie, its primary strength is its conceit: putting a monster from urban folklore (“Candyman ... Candyman ... Candyman ... “) into a genuinely urban setting. There’s a sense of danger and dread everywhere, created by the evocative photography of the Cabrini Green public-housing complex and the cold, culturally out-of-place Philip Glass score. The polished and carefully constructed academic music clashes with the palpable poverty and decay of the setting, revealing an unexpected rigor.
Under the movie’s trashy surface, writer/director Bernard Rose (working from a story by executive producer Clive Barker) has crafted an honest meditation on race and fear in contemporary society — from both the white and black perspectives. The unease between well-to-do whites and poor blacks envelops nearly every relationship.
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