★ / ★★★★
Helen Lyle (Virginia Madsen) and Anne-Marie McCoy (Vanessa Williams) were graduate students who became increasingly involved in a series of murders in the projects. Word went around that if one said “Candyman” five times while alone in the bathroom, Candyman (Tony Todd) would appear and kill the daring summoner in the most gruesome way possible. Was it simply an urban legend designed to scare those who lived in the violent neighborhood or was there something darker that needed to be explored and revealed? Based on the short story “The Forbidden” by Clive Barker, “Candyman” failed to generate genuine scares because it neglected to define what was fantasy and what was reality, and it was plagued by characters who were supposedly smart but almost always chose the stupid decision when the occasion called for it. Take Helen for example. Despite the murders, she decided to drag her friend to the scene of the crime without taking any sort of precaution. She had no knowledge about the people who lived in the projects or how to effectively communicate with those connected to the infamous murders. She only had one thing in mind: She had to take pictures in order to avoid a “boring thesis.” Nevermind the men who could easily get their way with them. Nevermind offending those who just wanted to move on from the grizzly incidents. When Helen seemed to descent into madness, there were a plethora of unintentionally funny moments. As she awoke covered in blood with no memory of how she got there, she decided to pick up a meat cleaver next to a beheaded dog. Did it not occur to her that what she just touched could potentially be the murder weapon and she was getting her fingerprints all over it? And were we expected to believe that a baby that Candyman abducted could live for over a month without food or water? After all, the film eventually implied that Candyman was only real in Helen’s mind. There were many glaring inconsistencies so I was constantly taken out of the experience. The writing was weak and the direction was no better. There were more than a handful of unnecessary shots of bees which were designed to give us the creeps, Candyman’s face appeared on the screen to make us jump out of our seats, and nonsensical decisions placed too conveniently to trigger one set of events to another. Directed by Bernard Rose, “Candyman” lacked genuine tension and suspenseful sequences that basic horror films should have. It would have been an entirely different experience if the writing was more focused and, more importantly, if the graduate students thought and acted like excellent detectives instead of blond sorority girls typically slayed early on in standard slasher flicks.