Candyman ★★★★½

"Black people don't need to be summoning shit."

I'm not sure why exactly people seem to be unable to see the good in this sequel like they do the original, but it is an excellent sequel and, furthermore, a wonderful companion piece to the original, unlike the previous two sequels, one of which I haven't seen in a very long time so I won't comment on it. The first at least tried to do something interesting, even if it changes everything about what made the first film so engrossing. It makes complete sense to me that Candyman would be not just Daniel Robitaille, but a number of other black males struck down in similar fashion for the sake of white men's need for superiority.

Seeing the way people respond to something as simple as Colin Kaepernick kneeling during the national anthem to protest police violence to black people and simple statements like, "Black Lives Matter," shows me that too many people care for nothing other than themselves. This has only become more evident with a large portion of America's refusal to mask up during a pandemic to stem the tide and protect others simply because they don't want to. There's no real reason behind it other than selfishness and they can argue that point all day long and profess to be good Christians and whatnot, but that's not how Christ would behave. You're selfish and proud. Just admit it.

Anyway, that's what Candyman, no matter the version, makes me think about. I think Nia DaCosta did an excellent job adding to an already beautifully tragic story, fleshing it out even more and making white people more uncomfortable in the ways they behave. I'm sorry if that bothers you, but that's what horror is supposed to do.

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