sequel and nostalgia in Hollywood



Last August, Hollywood released a dramatic addition to the storyline of “Candyman” (2021), a screenplay written by iconic Jordan Peele and directed by Nia DaCosta. Oh, and there was also the return of Hugh Jackman to the big screen, with a box office bomb, “Reminiscence.” Yes, it seems that in August, and admittedly every other month as well, the film industry is particularly focused on resurrecting their past legends from beyond the grave, films and actors alike.

(Poster courtesy of Universal Studios.)

For many devoted horror fans, news of the production of a sequel to “Candyman” (2021) has led many to fear that it will be another classic Hollywood horror film. After all, don’t forget the horrific 2010 flop of a remake, “Nightmare on Elm Street” – which left many horror junkies with their own nightmares, but not in a good way. Let us first consider “Candyman” (1992).

Director Bernard Rose’s adaptation of Clive Barker’s story “The Forbidden” turned Barker’s gothic literary work into an urban nightmare that spoke directly to the youth of the 90s. Barker’s story thematically encompassed critiques of the contemporary British class system, much of the 1992 film takes place in Chicago’s Cabrini-Green public housing complex, where themes of racial and social disparities are presented in downtown areas. Americans. The film follows Helen Lyle, a well-off white woman with a diploma, leading a high school research project on poor housing projects in America.

In turn, the audience sees the unfolding horror through the perspective of a privileged stranger. Woven with the backstory of a community’s urban legend, the audience witnesses community gentrification darkened by a white-eyed lens. This lens ultimately fails to present these social issues from the perspective of housing project communities. From the sound mixing to the cinematography and most certainly to the impressive construction of the sets, Rose’s 1992 masterpiece is fascinating to watch.

Watching “Candyman” (2021), this adaptation doesn’t have a unique charm, which might leave some “Candyman” (1992) fans in theaters a little disappointed. Still, that doesn’t mean Hollywood gave horror fans another butchery flick. Rather, would-be moviegoers should set their expectations in advance.

One of the main things to note about the 2021 episode is that it brings themes, such as those seen in the original, to the forefront of the film and frankly executes them in a nuanced way. The 2021 sequel puts more emphasis on racial injustice, while the 1992 film puts racial injustice on the back burner. This reinvention of “Candyman” (2021) is above all a visual pleasure to watch. Camera work, use of sets and shadow theater work wonders in setting the tone and creating a dynamic experience. Fortunately, horror junkies can find solace in the fact that this film has everything to offer visually. While we might find ourselves missing the nostalgic and cheesy gore effects of the 90s, the gore of “Candyman” (2021) will leave little to imagine and a lot to make sick. This is in part due to the fantastic sound design throughout the film. If a movie buff thinks they won’t hear all of the slash, dagger, and squish, they’ll be surprised.

These movies are different, but they share a soul and both are fantastic horror movies. “Candyman” (2021) may not be as good as “Candyman” (1992), but it can definitely hold up and it’s a good movie, unlike the movie “Reminiscence”. Four out of five rattlesnakes.

(Poster courtesy of Warner Bros. Pictures.)

This film is good. The cinematography is correct. The dialogue is unbearably boring. Overall, it’s unremarkable, which isn’t an unusual feature attributed to Hugh Jackman’s acting filmography – one can only watch “X-Men” a certain number of times.

Without spoiling anything, the film takes place in a futuristic version of Miami where, due to climate change, it is too hot to venture out during the day; so everything happens at night. And just in case the audience thought it wouldn’t be a brooding black, it actually is. After all, the first line of dialogue that strikes the ears of the audience is: “The past can haunt a man …”

However, Hugh Jackman stars as Nick Bannister, a brooding investigator haunted by his mysterious and heartbreaking past. Essentially, Jackman is playing a harsh conundrum with a troubled past. How original, Jackman certainly shakes things up with his return to comedy. Either way, the rest of the movie speaks for itself – One Jackman character has to do something with memories in every movie he’s in, confront the past, forget about the past, and now … live in the pass. In short, Jackman is a private investigator who leaps in memories in order to solve crimes while being haunted by his own past.

The film is full of black tropes, which is not a problem in itself, but the film does little to do anything creative with its symbolism. Director and screenwriter Lisa Joy seemed to make this almost too brooding and dramatic neo-noir film, while also making a boring sci-fi flick. It is disturbing and disturbing.

Yet Joy, who is also the writer and creator of the hit sci-fi television series “Westworld”, is actually known for her fantasy writing. But somehow this movie has become as predictable and melodramatic as its underwhelming performances – looking at you, Hugh. Hopefully Joy can make a comeback after this flop. With his talent, his potential to create a fantastic work of art is within reach. Two out of five rattles.

“Candyman” (2021) is currently in theaters and “Reminiscence” is available to watch in theaters and on HBO Max.

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