Candyman (1992)

The review hails the film as high-caliber horror in its purest form, with a powerful and seductive Candyman portrayed by Tony Todd and strong performances from Virginia Madsen and others. It praises the taut direction, impressive bee effects, and Philip Glass score.

The critic finds Bernard Rose's film a startlingly effective shocker that gains power on reflection, blending romanticism with dystopian elements and subtle political undercurrents around urban legends and race. It notes the systematic degradation of the protagonist amid strong performances.

The critic describes it as one of the most interesting and scary horror movies of the 90s that leaves a very dark taste in the mouth despite its sugary title. They single out the intelligent, challenging approach and the fantastic Philip Glass score.

Rose delivers a faithful, scary and visually imaginative adaptation of Barker's story about a doctoral student researching an urban myth that may be real. He stages the suspense and horror with skill and panache, resulting in one of the best sustained horror movies in years.

Rose's adaptation relocates Clive Barker's story to Chicago's Cabrini-Green projects and explores boundaries of sex, class and race through a grad student's investigation of urban myths. The film offers unresolved narrative ambiguities and a haunting Philip Glass score that keep the myth alive.

Rose's electrifying shocker, inspired by Barker's story, follows a student uncovering a hook-handed killer linked to urban legends in Chicago. It is intelligent, gripping, gimmick-free and atmospheric, with a terrific performance from Madsen and bold direction that milks every terrifying moment.

The film uses urban legends to explore deeper fears and ideas rather than relying solely on gore. It is intriguing despite some plot elements that may not hold up under scrutiny.

The critic calls Candyman a triumph of directorial poise that becomes an essay on fear rather than a standard frightener. They single out its insight into the squalor of Chicago's projects and how it leaves viewers more fearful in the real world than in the cinema.

The horror unfolds provocatively against a backdrop of racial injustice in a housing project. The spooky atmosphere is enhanced by strong cinematography and score, with enterprising performances.

The film cashes in on racial themes with its black Candyman in a Chicago project, using the gimmick effectively in satiric scenes. It remains just a gory campfire tale despite the slick savvy.

The ambitious morality play drowns in repellent gore and becomes pretentious and preposterous. It fails to hold together despite efforts to cover moral, racial, and supernatural territory.

The critic finds the film bold and unusual despite flaws in pacing and the ending. Strong performances, especially from Tony Todd and Virginia Madsen, along with Philip Glass's score and Bernard Rose's visual style, are singled out for praise.