Candyman (1992)
Directed by Bernard Rose
The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth.
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What critics compared Candyman to
Some scenes remind of Bernard Rose's Candyman --the wrong-man intrigue (and Whannell makes a clever reference to Thornhill's U.N. trouble from North by Northwest ) resulting in institutionalization.
She’s manipulated and gaslit at every turn, and I was reminded at times of Candyman , Bernard Rose’s chiller in which a woman has the damnedest time convincing everyone around her that an urban legend is very much alive.
Writer Jonathan Penner (Title's spouse) reaches further back into the horror canon to the 90s with a simple set-up that bears comparison to Bernard Rose's seminal Candyman , with characters doomed to hallucinate and enact violence if they dare to utter the titular character's name.
This PG-13 rated schlock masquerades as another of those urban legend staples borrowing heavily from the visualizations of Sinister (2012) and without the kind of subtext which still makes Candyman (1992) feel like a relevant attempt at contemplating the kind of power belief holds as far as personifying fear.
We’re spared the bullshit “based on true events” tagline here, because the character as written by Schneck was essentially Clive Barker’s Candyman.
(Actually, that one is uttered by Candyman's Tony Todd, who has a cameo as an all-knowing mortician who babbles for about two minutes about "Death's sadistic design.")
A cameo by horror/sci-fi veteran Tony Todd (Candyman, Night of the Living Dead) injects a Crypt Keeper-ish mood.
Tony Todd (1992's "Candyman"), as an arcane morgue attendant, pops up for a five-minute cameo, but his appearance is rather supererogatory.
Each victim hears John Denver music just before they get whacked, for instance, and horror icon Tony Todd, from the cheezeball "Candyman" flicks, has a cameo as a soothsaying mortician.
Virginia Madsen was amazing in Electric Dreams, Sideways and Candyman.
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It’s a topic the genre has brushed up against—with the black protagonist of Night of the Living Dead, a rare sight in 1968, or in Bernard Rose’s 1992 classic Candyman, in which the titular figure in part represented America’s history of slavery and repression.
Race is rarely explicitly mentioned in horror films, and when it is, the racial and ethnic “others” are usually cast as the monster, such as in Candyman (1992), whose vengeful slasher is the spirit of a post-Civil War black man gruesomely lynched for impregnating a white woman.
The villainous robots resurrect their leader, Megatron (Hugo Weaving), who now takes his orders from the title character, the Fallen (voiced by "Candyman" Tony Todd).
Obsession is a movie which plays like a love letter to classic 80s-90s horror, such as The Evil Dead series, Creepshow, Tales From The Crypt, Re-Animator, almost every John Carpenter movie ever shot, Hellraiser, and Candyman…
The location photography here is abnormally good: in the 23 years since, I can't name a half-dozen films to have taken advantage of Chicago anywhere near as well, and perhaps only one - The Dark Knight - to have topped it.