Yahya Abdul-Mateen

Review of “Candyman”

The sweetness of candy is its biggest appeal. It offers very little in nutrition, only a sudden burst of glucose to the bloodstream that then requires an equal burst of insulin from the pancreas to allow it to be absorbed by cells to be used to power the body. If the body doesn’t need as much energy as the candy provides, the glucose is then converted to fat. Chocolate is said to generate similar chemical reactions in the brain as seeing someone we love or feeling in love. There is an entire holiday, evolved from honoring, remembering and trying to protect us from spirits of the dead, built around the collection of candy by little kids. It is a tender trap of immediate gratification and long-term consequences. I love candy, am obese and have Type II diabetes. There are genetic reasons that might be involved, but being largely sedentary and eating too many carbohydrates, some of them candy, has put me in this position. Candy can be a gift, but if abused, it becomes a curse. Much the same can be said about this week’s movie, the sequel to and reboot of, “Candyman.”

An artist, Anthony McCoy (Yahya Abdul-Mateen II), is struggling with finding the inspiration for his next series of paintings due to be shown in an upcoming installation. His girlfriend Brianna Cartwright (Teyonah Parris) is the gallery director. His work largely centers around social injustice and equality, but the gallery owner Clive Privler (Brian King) says Anthony’s work is his past and not his future. Looking for inspiration, Anthony walks around the mostly abandoned Cabrini Green housing project in Chicago where he meets William Burke (Coleman Domingo), one of the few remaining residents of the project and the owner of a laundromat. Burke tells Anthony the urban legend of Candyman, a local hook-handed character named Sherman Fields (Michael Hargrove) that was accused of putting razor blades in candy he passed out to children in the neighborhood. Fields is beaten to death by cops, but the razor blades continued to show up in candy, meaning Fields was innocent. The legend goes, if you stand in front of a mirror and say “Candyman” five times, Burke will appear in your reflection and kill you. Inspired by this, Anthony begins a new series of paintings depicting violence in graphic ways. The paintings are displayed for the showing in a room behind a mirror with each patron given a handout that details the legend and instructions for summoning the violent specter of Candyman. Following the showing, violent, grizzly murders are carried out against people in Anthony’s life. Is he responsible? Is he going insane? Is he Candyman?

Horror superstar Jordan Peele co-wrote, along with director Nia DaCosta and Win Rosenfeld, the script for “Candyman.” Peele is also a producer. His involvement immediately put this film on my “must watch” list. I’d never seen the original “Candyman” from 1992 or either of its sequels, so I was curious about what kind of film I’d be getting into. With Peele being part of a larger creative team and it being based on a previous property, would “Candyman” be a rehash of 1990’s slasher/horror, or would this 21st Century take on the character introduce something new? The answer is a bit of both.

The story of “Candyman” makes good use of its brisk 91-minute run time to squeeze as much as possible out of the original story and add biting social commentary about POC displacement and gentrification. Being a white male, I squirmed in my seat more than once as the characters discuss the history of Cabrini Green and knocking down low-income housing to build condos the original residents can’t possibly afford. There are moments when it sounds like Peele and the writers are making comments about their own success and how they are separated from the financial struggles and experiences of most minorities in America. It’s one of the rare scripts with aspects of social commentary that turns the gaze back on itself and says, “I’m guilty of this too.” Overall, this take should make fans of the original film very happy as this is a direct sequel. It shares history and characters from the 1992 film with even a photo and voice cameo from Virginia Madsen, and Tony Todd makes a brief appearance. While I haven’t seen the original, I have read a plot synopsis. From that limited information, I believe this sequel should leave original “Candyman” fans pleased with this continuation of the story.
The film is frequently trying to keep you off balance. There are camera angles that cause you to lose your sense of placement in space. Are we looking up from street level or down from above the clouds? Is Anthony going insane, hallucinating, or is he carrying out these murders in a hypnotic state? Since the movie is questioning what’s reality and what’s fantasy, the audience is never quite sure. It’s a nice mixture to keep you one your toes.

Yahya Abdul-Mateen II is amazing in “Candyman.” You can’t help but feel sorry for him as he struggles for inspiration, then no one sees the work the way he does. His obsession with the work poisons his relationship with everyone around him, as the legend takes him over, both emotionally and physically. There appears to be a rot that travels up Anthony’s hand from where a bee stings him as he wonders around Cabrini Green. That rot is emblematic of what happens to Anthony’s mind as the movie continues. Abdul-Mateen makes Anthony a frantic victim, confused about his physical and mental changes and wondering where it will end. The audience aches for Anthony knowing he likely can’t escape a painful fate. Note: If you suffer from trypophobia, or the fear of clusters of small holes, you may want to avert your eyes from Anthony near the end of the film, or stare at him to overcome your aversion.

“Candyman” is rated R for bloody horror violence, and language including some sexual references. All the murders committed on screen are bloody as Candyman uses his hook to rip out throats or otherwise impale his victims. We see and man’s arm sawed off. There are also two murders committed by cops on black men. The actual violence is done off screen. Sexual references are a couple talking about their upcoming coitus that is interrupted, and Brianna’s gay brother making mild sexual jokes. Foul language is infrequent.

“Candyman” delivers some quality kills but comes up a bit short on the scares. The film works hard to convince us all the victims deserve to die for being mean, callous, selfish and opportunist. His first appearance in the film is likely his best, stalking his victims and only appearing in reflection but still slashing throats and other body parts in the real world. Candyman becomes an anti-hero in this iteration. I would have liked a bit more tension and visceral fear, but the artistry and style director DaCosta brings to the project raises “Candyman” hook, head and shoulders above many other slasher films.

“Candyman” gets four out of five stars.

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Review of “Aquaman”

Arthur Curry (Jason Momoa) is the product of two worlds: Atlanna (Nicole Kidman), princess of the underwater kingdom of Atlantis, on the run from a loveless arranged marriage, and Tom Curry (Temuera Morrison), the keeper of a lighthouse on the Atlantic coast. Tom finds Atlanna injured on the rocky shore during a storm, brings her in and tends her wounds. The two fall in love and produce a son, Arthur. The King of Atlantis sends troops to bring Atlanna back, but she defeats them in battle. To keep Tom and Arthur safe, Atlanna decides to return to Atlantis. Arthur shows the ability to communicate with fish. He can also fly through water. Atlanna’s advisor Vulko (Willem Dafoe) meets with Arthur and trains him in the ways of Atlanteans including battle tactics and how to use his unique abilities. Now an adult, Arthur, known in the media as Aquaman, intervenes in an attempt to take over a Russian nuclear sub by a group of high-tech pirates led by David Kane (Yahya Abdul-Mateen, II) and his father Jesse (Michael Beach). During the fight, Arthur injures Jesse who is then trapped by a torpedo that has fallen from its rack. David begs Arthur to help free his father, but he refuses and Jesse dies. David vows revenge on Arthur. Meanwhile, Atlantean King Orm (Patrick Wilson), who is Arthur’s half-brother, is plotting with King Nereus (Dolph Londgren) of the Xebel tribe, to wage war on the surface world by uniting the remaining seven kingdoms of the sea, taking the title Ocean Master, and attacking with their combined forces. Nereus’ daughter Mera (Amber Heard) finds Arthur and encourages him to come to Atlantis and challenge Orm for the throne and prevent the war. Arthur isn’t interested in being a king, but changes his mind when Orm, using Atlantean technology, causes huge tsunami all around the world, wreaking massive damage and nearly killing Tom. Vulko tells Arthur and Mera about the legendary Trident of Atlan, the first king of Atlantis. The magical weapon will give Arthur the power to defeat Orm and unite the kingdoms of the seas. Orm has given David Kane Atlantean weapons that Kane modifies into a suit and takes the name Black Manta. Orm sends troops and Black Manta to kill Mera and Arthur to stop them from finding Atlan’s Trident.

One of the biggest complaints about the recent superhero films from DC is they are dour, overly serious and dark. None of those criticisms can possibly be levied at “Aquaman” from director James Wan. The sixth film in the DC Extended Universe (DCEU) is bright, colorful, funny and filled with enough action sequences to keep fans happy. It is everything “Man of Steel,” “Batman v. Superman: Dawn of Justice” and “Justice League” weren’t.

The story of “Aquaman” is overly stuffed with secondary but connected plot lines. There is his missing mother, the creation of Black Manta, Orm’s plot with Nereus, Orm gathering support from the other kingdoms, the search for Atlan’s trident and a couple of more that would be spoilers. This bloats the running time to nearly two and a half hours. While there is more than enough to occupy your attention, it causes the film to feel scattershot and disjointed. With so many bits of story to service and characters to get on screen, “Aquaman” is constantly moving, never taking the time to let a moment breathe. While this makes the long run time feel somewhat shorter (still, plan your fluids), it also makes for a film that jumps from event to event and action scene to action scene, lessening the importance of each.

That said, “Aquaman” is quite the thrill ride. There are some amazing action scenes where Jason Momoa and Amber Heard (and/or their stunt/CGI doubles) get thrown around like rag dolls. There’s a foot chase scene with Mera across the rooftops of Sicily while Black Manta and Arthur battle it out in various locations. The choreography of these scenes, as well as the editing of the two together, is a masterclass for future filmmakers in how it should be done. The opening action scene on board a submarine is equally impressive for its use of the confined space. Arthur bangs bad guys off the walls and throws them down the halls. This scene also gives us an idea of Arthur’s powers as he is shot with a gun with no apparent effect and hit with an RPG that merely stuns him. He rips metal doors off and uses them as shields and weapons. All this after raising the sub up from the depths all by himself. Aquaman is a powerful hero with abilities in the water similar to Superman’s in the air.

He also can talk to fish. This often is mentioned as a joke since Aquaman is considered by some to be a secondary character in the DC universe. While it is an important part of his abilities, it isn’t the most important aspect of the character. Clearly, he’s gone through several changes in the various reboots of the comics character and aside from some cartoons like Super Friends, there wasn’t much done with Aquaman outside the pages of comic books. Now, with DC looking to emulate the movie success of Marvel, Aquaman has got to be toughened up to be considered on the same level as Superman and Batman. Casting Jason Momoa in the role was the first step in turning Aquaman into an A-list superhero.

Aquaman is as much Momoa as he is from the pages of the comic books. Both the actor and the character in the film like to have a good time with friends and family. Both enjoy a drink or 10. Both are gregarious (perhaps Aquaman less so) and enjoy laughing. Momoa is probably the best choice to play the king of the sea and he’s clearly enjoying his time in the role. He and Amber Heard have a chemistry that jumps off the screen. Even when they are just getting to know one another, and their relationship is more adversarial, there is an undeniable connection between the two. They are a team along the lines of Lois and Clark, and Bruce and Alfred. Separately, they are formidable, but together, they are unstoppable. It is a team-up I hope to see again on the big screen.

To say the design of “Aquaman” is eye-catching is an understatement. The cities at the bottom of the sea glow with a light like that of the deep-water fish you see in documentaries. The look of the advanced technology, the vehicles and the infrastructure of Atlantis and the other kingdoms is extraordinary. The sleek hydro-dynamic designs of the various subs mimic that of sea life like manta rays and dolphins. It is a world unlike any we’ve seen before, but it all makes sense.

The characters float in their underwater world in a believable way. Their images are slightly warped by the currents in the water and their hair moves in a way that is both realistic and extremely convenient as it never gets in their faces. While some of the digital de-ageing of some characters in flashback scenes is obvious, overall the digital effects throughout the film are excellent.

“Aquaman” is rated PG-13 for sequences of sci-fi violence and action, and for some language. We see the aftermath of the pirates massacring the crew of the sub. We see a couple of characters stabbed or impaled. Despite the killings there is very little blood. We also see characters hit be energy weapons and blown hundreds of feet. There is also violence against and between underwater monsters created for the movie. Foul language is scattered and mild.

DC doesn’t have the best track record for their movies since the beginning of the DCEU with “Man of Steel.” Their only critical and financial success has been “Wonder Woman,” while “Suicide Squad” made money despite being roasted by film critics. “Aquaman” is likely to be a success on both fronts as it has been a huge moneymaker in China where it was released two weeks before opening in North America. With good reviews and the probability of a successful box office run, “Aquaman” may join the rarified air of a critically liked and financially successful movie for Warner Bros. and DC. Perhaps those in charge will be willing to take chances on their superpowered characters, give directors the freedom to experiment and take chances in presenting them in a new medium. I hope “Aquaman” signals a change in the fortunes of DC’s slate of superhero movies. It would be nice if they could give Marvel a run for their money. After all, a high tide raises all boats.

“Aquaman” gets five stars.

This holiday week has two new releases. I’ll see and review at least one of the following:

Holmes and Watson—

Vice—

Listen to The Fractured Frame for movie, TV and streaming news available wherever you get podcasts. Follow me on Twitter @moviemanstan and send emails to stanthemovieman123@gmail.com.

Review of “Baywatch”

An elite team of lifeguards called Baywatch keeps an eye on the beach and water of Emerald Bay. Their leader Mitch Buchannon (Dwayne Johnson) has over 500 rescues in his career. Along with C.J. Parker (Kelly Rohrbach) and second-in-command Stephanie Holden (Ilfenesh Hadera), Mitch and his team keep the swimmers and boaters safe. Tryouts for new team members are held and making the cut as a trainee are Summer Quinn (Alexandra Daddario) and Ronnie Greenbaum (Jon Bass). Also joining the trainees is two-time Olympic gold medal swimmer Matt Brody (Zac Efron). Brody is a showboat and hothead that is on the team as part of his probation for a previous crime. Mitch wants him gone but his boss Captain Thorpe (Rob Huebel) wants Brody to stay as a way to generate some positive PR so the city council doesn’t cut their funding. While jogging on the beach, Mitch finds a packet of illegal drugs washed up on shore in front of the exclusive Huntley Club run by Victoria Leeds (Priyanka Chopra). Behind the scenes, Leeds is buying up all the shoreline property and bribing the city council to support her efforts to make all beachfront private. She even goes so far as to have her thugs kill a city councilman that threatens to expose her plot. Her plan includes disposing of his body at sea on board a burning yacht but Mitch and the crew gets a distress call and manages to rescue two women from the boat as well as the body of the councilman. Suspicious of the circumstances, Mitch begins an investigation into the death and the drugs, thinking they are connected. This angers local police officer Sgt. Ellerbee (Yahya Abdul-Mateen, II) as well as Thorpe since Mitch and his crew aren’t cops. Brody also doesn’t think they should get involved creating tension within the team. Can they pull together and stop the privatization of their beautiful public beach?

The original “Baywatch” TV show was a massive hunk of 1990’s cheese with a big side of T and A. While cancelled after its first season on NBC, the show found its way around the world in first-run syndication and became one of the most watched shows in history. Star David Hasselhoff expanded his stardom outside of Germany and became a household name along with Pamela Anderson, Nicole Eggert, Alexandra Paul, Yasmine Bleeth and more. No matter how silly or trite the plot might be, people tuned in for a decade to keep up with the adventures of Mitch and his crew, especially to see the lady lifeguards running in slow motion. The popularity of “Baywatch” (like most things) faded and the show died a slow death after two seasons relocated and renamed “Baywatch Hawaii.” It has rested easy in its video grave for 16 years but much like Dracula has been brought back to life by Dwayne Johnson and his lifeguards for a new generation in “Baywatch.” Much like Dracula, we’d all be better off if had stayed in its grave.

“Baywatch” is very pretty to look at. Everyone on screen, with one exception, is a hard-bodied stud or a well-built beauty. Clothing is perfectly fitted and as small as possible most of the time. Male abs and pecs are on display for well over half the film. Tans are deep and perfectly even. Women’s breasts are squeezed together so they yell “Look at ME!” in swimsuits and evening wear. If the writers had worked half as hard at the story and script as the costumers did there might be a pretty good movie here. Sadly what we have is a few laughs that require slogging through a stupid story that probably would have been rejected from the writers of the TV show.

The very likable and enjoyable cast of “Baywatch” is totally wasted by the numerous hoops the ridiculous story makes them jump through. One particularly painful scene (of many) finds Johnson and Efron handling the genitals of a dead man. This scene runs for a very long time and as distasteful as it might sound from the description it’s even worse to watch. Another groaner involves Jon Bass’ Ronnie being asked to create a distraction by doing a dance that looks more like a seizure as a distraction for Priyanka Chopra’s villain. I suppose they thought it would be funny because the slightly overweight guy would look silly doing a sexy dance for the international beauty. HAHA get it? He’s overweight so he’s got to be the funny guy that sacrifices his dignity for some laughs. I truly felt sorry for Bass for having to do the scene.

Despite this particular scene, Bass acquits himself well in a thankless role as the comedic relief in what is supposed to be a comedy. His inability to speak to C.J. in an early scene is very funny. His dignity is once again sacrificed when his twig and berries get stuck in the slats of a beach lounger and C.J. and Mitch try to free him. While this is also a cringe worthy bit, it is actually written pretty well and has some decent laughs.

Priyanka Chopra deserved a better written role. Her character oozes civility when she’s playing nice with the locals but the claws come out when she’s pushed in a very stereotypical depiction of a female villain. Maybe the film was trying to go for some kind of 90’s retro vibe in how it depicted the character but it actually just wasted a very good actress in a poorly written part.

Dwayne Johnson and Zac Efron are clearly working as hard as they can to wring some life out of the script but only manage make themselves look pretty good. Johnson is a bright beacon of fair in a storm of awful. Efron plays the thoroughly unlikeable Brody as well as can be expected considering the script. His redemption doesn’t feel authentic (like most of the rest of the movie) but he does the best he can.

The best part of the film is the opening 20 minutes as we get introduced to the characters. Most of the good writing apparently was done for this section. The dialog is fairly snappy and most of the jokes work. It doesn’t waste any time and delivers on what the trailer suggested might happen: The audience would laugh. Once the story (such as it is) gets into full gear it is pretty much downhill from there.

“Baywatch” is rated R for language throughout, crude sexual content, and graphic nudity. There are various dirty jokes in the film. Fairly typical stuff you’ve seen before. Aside from the aforementioned dead guy genital handling we see a man’s erection standing up in his swimsuit. We also see his erection and testicles also through his swimsuit. There is also a small amount of gore including a victim of a shark bite and an arm blown off in an explosion. Foul language is common throughout.

Original “Baywatch” cast members David Hasselhoff and Pamela Anderson make very brief cameos in the film. If you truly love the original show this might be a reason to see the film. For everyone else there’s no need as the movie “Baywatch” is a spliced together mess that is not worth your time or money. Save your cash for an actual beach trip where you’ll likely have more fun than seeing this movie.

“Baywatch” gets two stars out of five.

This week a couple of precocious kids create a superhero while a DC Comics legend finally gets her own film. I’ll see and review at least one of the following:

Captain Underpants: The First Epic Movie—

Wonder Woman—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman@comcast.net.