Tony Todd

  • Candyman: Day of the Dead aka Candyman 3 (1999)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, December 2021) Some series find their footing by the third episode, but most of them merely end up rehashing their own premise, and that’s where Candyman 3 ends up. Moving to Los Angeles (what?) and taking on the art world (double what?), the film otherwise seems content to simply repeat elements from the first film, except without much conviction or wit. It’s apparently taking place in twenty-years-distant 2020, but there’s nothing science-fictional about the low-budget execution. I did like Tony Todd’s presence and Donna D’Errico doesn’t do too badly (even though I preferred Alexia Robinson), but the film itself is dull — the only potentially interesting element about its conclusion being how definitively (and without winking) it seems to shut down the possibility of any follow-up. That’s not much, especially considering how the first film in the series was a semi-amazing blend of social commentary, historical material and rather original boogeyman. But Candyman 3 is simply repeating some of the highlights without committing to it beyond a superficial level. No wonder the series died for a generation after that.

  • Candyman: Farewell to the Flesh (1995)

    Candyman: Farewell to the Flesh (1995)

    ByChristian Sauvé Movie Review

    (On TV, October 2020) Nearly every single successful horror film of the 1990s spawned a sequel whether it was appropriate or not. The temptation to do a follow-up to Candyman was predictably irresistible: Not only was the film successful, it also fascinated audiences by weaving a complex mixture of social protest, urban decay, black representation and the undeniable presence of Tony Todd as the titular boogeyman. Candyman: Farewell to the Flesh predictably devolves by ramping up the horror elements at the expense of the social commentary. Leaving the concrete apartments of Chicago for New Orleans is a miscalculation even if it lets the filmmakers explore the Candyman legend to its origins. But then again—overexplaining what should have remained mysterious is the hallmark of ongoing horror series. What’s less forgivable is how the thematic concerns of the original are muted to the point of being nearly inconsequential: this film is about the iconography of the series (the hook, the bees, the mirror calling) more than the meaning of those icons. Perhaps the most surprising thing is how Farewell to the Flesh is directed by Bill Condon, who would progress to much brainier fare with his subsequent Gods and Monsters, and then further on to tentpole Hollywood productions. Not much of his talent is on display here, though—the direction is as mechanical as the script’s reliance on carefully spaced murders to qualify as a genre horror sequel. If nothing else, Farewell to the Flesh is another chance to see Tony Todd at work, and it’s not irremediably awful—merely useless.

  • Candyman (1992)

    Candyman (1992)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, February 2019) I remember some of the marketing for Candyman back in 1992, but for some reason had almost forgotten about the film until now. I’m almost glad I did, because it allowed me to discover something that, under the garbs of a horror movie, is quite a bit more than a standard supernatural slasher. In addition to a villain that almost qualifies as original, Candyman does delve quite a bit into themes of urban decay, social injustice and black mythology as presented through urban legends. From a gripping opening, the film develops a specific visual style made of overhead shots of Chicago slums, bee imagery and askew camera angles. When combined with the fantastic screen presence of Tony Todd as the titular boogeyman and a rather good turn by a young Virginia Madsen (plus Kasi Lemmons in a supporting role), Candyman is significantly more interesting than most horror films of the early 1990s. Unusual plot developments keep our attention, and the well-executed sense of alienation of a white woman plunged into urban black myth leads to an effective descent into hell. Writer/director Bernard Rose cleverly adapts a Clive Barker story to an American setting, throws narrative curveballs and manages an effective atmosphere of dread making judicious use of its slum setting. It’s a much better film than you’d expect from its era. My biggest (minor) qualms are not the film’s fault—I happen to think that 1990s Virginia Madsen doesn’t look as good as 2010s Madsen, and catching the film in French deprived me of Todd’s distinctive voice. All the better reasons to rewatch the film again at some point. Considering the renewed interest in black-themed horror with social relevance, Candyman seems almost perfectly placed for a remake and whaddaya know—one is being planned right now.