Chicago. Helen, a graduate student, intends to write a thesis on modern myths and is intrigued when she hears about the urban legend of the Candyman. He was once an African-American painter in 19th century, but when he impregnated a white woman, the mob hacked his hand off and killed him by tossing thousands of bees onto his body covered with honey. According to a source, Candyman can be summoned if his name is told five times in front of a mirror, and allegedly someone was murdered by him in the Cabrini-Green housing project. Helen investigates the murder, but suddenly gets hallucinations. She wakes up in the apartment of Anne-Marie, whose dog has been killed and her baby kidnapped. The police send Helen to a mental asylum, but she escapes when she summons Candyman who kills the psychiatrist. Candyman wants Helen to continue his legacy, but she manages to kill him and herself in fire, but saves the baby. Helen's boyfriend, Trevor, summons Helen's name five times in the mirror - and is subsequently killed by her, who succeeded Candyman.
A surprisingly refined psychological horror, this is a quality made independent film that managed to lift itself up above the typical cheap-trash slasher films from that era, thanks among others because it dedicates a lot of time to its main heroine, Helen, played very well by Virginia Madsen, and an elegant visual style. "Candyman" still missed a golden opportunity, however: its title antagonist, an African-American, was a victim of racial violence in the 19th century, and the story could have benefitted a lot if it followed that lead and turned into an allegory of a dark past that haunts the modern US. Unfortunately, almost nothing in the film itself seems to consider this potential: Candyman could have very well been white, or any other race, since it makes no difference in the narrative. The theme of racial relations is utterly ignored for the rest of the film. Likewise, the film lacks highlights: the second half is just one long hallucionation after hallucionation that Helen endures, while she lands in the mental asylum, yet potentials for more suspense could have been exploited. There is one great scary moment: the flashback of a couple who jokingly dare each other and tell Candyman's name five times in front of the mirror. At first, nothing happens, and they dismiss it as a myth. The guy leaves the bathroom, while she stays and then turns off the lights—only for Candyman to suddenly appear in the dark. This scene is a sophisticated example of horror, and the film could have used some more of it. Still, it is an all-around clever and patient little film that manages to deliver a horror film with a difference.
Grade;++
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