In search of ideas, a young artist from Chicago Anthony McCoy decides to study the history of the area where he recently moved with his girlfriend. The research introduces him to an elderly local resident who tells the guy about the notorious maniac Candyman, who kills those who say his name in front of the mirror five times. Inspired by this story, Anthony creates an exhibit for an exhibition where a double murder occurs after closing.
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Candyman from the first film (1992) essentially resembled this childhood horror story, and on the screen he acted in the style of some Freddy Krueger. Accompanying the killings with an auxiliary bee swarm. It is clear that racial motives were present in the plot, since the monster came from an African American who was once killed because of an affair with a white girl.
It is believed that the film is based on the novel of the horror master Clive Barker, a Briton who announced his gay sex back in the 90s.
What upgrade has happened to his ‘Candyman’ now? From a completely understandable anti-racist plot, the content of the new film has grown sharply towards BLM propaganda: everyone around the perimeter is accused of the misfortunes of African Americans, at the slightest disrespect, an invisible mystical monster emerges from the mirror and kills suspected disobedience.
The optimal position of a white-skinned character is an active gay partner of one of the African American heroes. That is, the verb ‘please’ is considered here in its entirety in the applied sense. This will avoid dying from Candymen.
Outwardly, the new ‘Candyman’ is an unpretentious plot from the life of African American artists who find some historical facts about the murders associated with a mystical monster, and practically return it to the mass consciousness.
The drama is worthy of a light family series, and this is probably the main advantage of this sequel. Moreover, the hero establishes his personal connection with the old plot. His sacred duty is to carry eternal vengeance on. The Beleamsters here use some Christian motives for the purpose of their propaganda and intimidation of outsiders.
Codec: HEVC / H.265 (52.4 Mb/s)
Resolution: Upscaled 4K (2160p)
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
English: Dolby TrueHD 7.1 (48kHz, 24-bit)
English: DTS-HD Master Audio 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1
French (Canada): Dolby Digital 5.1
Spanish: Dolby Digital 5.1
English SDH, French, Spanish.