Tag: Yahya Abdul-Mateen II

See The New Trailer For AQUAMAN AND THE LOST KINGDOM And Get Your Tickets Now

Tickets are now available for AQUAMAN AND THE LOST KINGDOM, plus a brand new trailer has also dropped for director James Wan’s film. Aquaman himself, Jason Momoa—along with Patrick Wilson, Amber Heard, Yahya Abdul-Mateen II and Nicole Kidman—return in the sequel to the highest-grossing DC film of all time: “Aquaman and the Lost Kingdom.”

https://www.aquamanmovie.com/

Having failed to defeat Aquaman the first time, Black Manta, still driven by the need to avenge his father’s death, will stop at nothing to take Aquaman down once and for all. This time Black Manta is more formidable than ever before, wielding the power of the mythic Black Trident, which unleashes an ancient and malevolent force. To defeat him, Aquaman will turn to his imprisoned brother Orm, the former King of Atlantis, to forge an unlikely alliance. Together, they must set aside their differences in order to protect their kingdom and save Aquaman’s family, and the world, from irreversible destruction.

All returning to the roles they originated, Jason Momoa plays Arthur Curry/Aquaman, now balancing his duties as both the King of Atlantis and a new father; Patrick Wilson is Orm, Aquaman’s half-brother and his nemesis, who must now step into a new role as his brother’s reluctant ally; Amber Heard is Mera, Atlantis’ Queen and mother of the heir to the throne; Yahya Abdul-Mateen II is Black Manta, committed more than ever to avenge his father’s death by destroying Aquaman, his family and Atlantis; and Nicole Kidman as Atlanna, a fierce leader and mother with the heart of a warrior.

Also reprising their roles are Dolph Lundgren as King Nereus and Randall Park as Dr. Stephen Shin. Directed by Wan, “Aquaman and the Lost Kingdom” is produced by Peter Safran, Wan and Rob Cowan. The executive producers are Galen Vaisman and Walter Hamada.

The screenplay is by David Leslie Johnson-McGoldrick, from a story by James Wan & David Leslie Johnson-McGoldrick and Jason Momoa & Thomas Pa’a Sibbett, based on characters from DC, Aquaman created by Paul Norris and Mort Weisinger.

Joining Wan behind-the-camera is his sterling team of “Aquaman” artisans: director of photography Don Burgess (“The Conjuring 2”), production designer Bill Brzeski (“Jumanji: The Next Level”), editor Kirk Morri (“Furious 7”), composer Rupert Gregson-Williams (“Wonder Woman”) and music supervisor is Michelle Silverman (“Malignant”). Visual effects supervisor Nick Davis (“The Clash of the Titans” films, “The Dark Knight”) and costume designer Richard Sale (“Doctor Strange in the Multiverse of Madness,” “Ready Player One”) also join.

Warner Bros. Pictures Presents An Atomic Monster / A Peter Safran Production of A James Wan Film, “Aquaman and the Lost Kingdom,” set to open in theaters internationally beginning 22 December 2023 and in North America on December 22, 2023; it will be distributed worldwide by Warner Bros. Pictures.

AQUAMAN AND THE LOST KINGDOM Teaser Swims In – Watch The Trailer This Thursday

Copyright: © 2023 Warner Bros. Ent. All Rights Reserved. TM & © DC Photo Credit: Courtesy Warner Bros Pictures/ ™ & © DC Comics

Director James Wan and Aquaman himself, Jason Momoa—along with Patrick Wilson, Amber Heard, Yahya Abdul-Mateen II and Nicole Kidman—return in the sequel to the highest-grossing DC film of all time: “Aquaman and the Lost Kingdom.”

Having failed to defeat Aquaman the first time, Black Manta, still driven by the need to avenge his father’s death, will stop at nothing to take Aquaman down once and for all. This time Black Manta is more formidable than ever before, wielding the power of the mythic Black Trident, which unleashes an ancient and malevolent force. To defeat him, Aquaman will turn to his imprisoned brother Orm, the former King of Atlantis, to forge an unlikely alliance. Together, they must set aside their differences in order to protect their kingdom and save Aquaman’s family, and the world, from irreversible destruction.

All returning to the roles they originated, Jason Momoa plays Arthur Curry/Aquaman, now balancing his duties as both the King of Atlantis and a new father; Patrick Wilson is Orm, Aquaman’s half-brother and his nemesis, who must now step into a new role as his brother’s reluctant ally; Amber Heard is Mera, Atlantis’ Queen and mother of the heir to the throne; Yahya Abdul-Mateen II is Black Manta, committed more than ever to avenge his father’s death by destroying Aquaman, his family and Atlantis; and Nicole Kidman as Atlanna, a fierce leader and mother with the heart of a warrior. Also reprising their roles are Dolph Lundgren as King Nereus and Randall Park as Dr. Stephen Shin.

Directed by Wan, “Aquaman and the Lost Kingdom” is produced by Peter Safran, Wan and Rob Cowan. The executive producers are Galen Vaisman and Walter Hamada.

The screenplay is by David Leslie Johnson-McGoldrick, from a story by James Wan & David Leslie Johnson-McGoldrick and Jason Momoa & Thomas Pa’a Sibbett, based on characters from DC, Aquaman created by Paul Norris and Mort Weisinger.

Joining Wan behind-the-camera is his sterling team of “Aquaman” artisans: director of photography Don Burgess (“The Conjuring 2”), production designer Bill Brzeski (“Jumanji: The Next Level”), editor Kirk Morri (“Furious 7”), composer Rupert Gregson-Williams (“Wonder Woman”) and music supervisor is Michelle Silverman (“Malignant”). Visual effects supervisor Nick Davis (“The Clash of the Titans” films, “The Dark Knight”) and costume designer Richard Sale (“Doctor Strange in the Multiverse of Madness,” “Ready Player One”) also join.

Warner Bros. Pictures Presents An Atomic Monster / A Peter Safran Production of A James Wan Film, “Aquaman and the Lost Kingdom,” set to open in theaters internationally beginning 20 December 2023 and in North America on December 20, 2023; it will be distributed worldwide by Warner Bros. Pictures.

AMBULANCE – Review

So, from this film’s title, you’re thinking it’s a “fly on the wall” documentary with the filmmakers doing a “ride-along” with EMTs on a typical day, full of drama and danger, right? Or maybe it’s a docudrama following a young emergency worker going from their training and studies right up to the first week of their hospital assignment (with maybe a romance with another “lifesaver”). Well, I can give a big “nope” to both presumptions. Sure, the title vehicle is the main focus of this film, but it’s the kind of loud, noisy, frenetic action thriller that we usually get sometime in the Summer. And was a multiplex staple of the 90s. Well just coincidentally (well, maybe not) this flick is directed by the “unofficial kingpin” of those blockbusters from that era (hey, if Adrian Lynne can come back with a sexy murder mystery, then…). So clear the aisle in the theatre and make room for a very fast AMBULANCE.


But it doesn’t all begin with that “hospital-on-wheels”. After a nostalgic daydream-like sequence of two young boys at playtime, the story shifts to the present as former soldier Will Sharp (Yahya Abdul Mateen II) is in “phone hell” trying to get medical coverage for his ailing wife. He needs that aid since he’s “between jobs”. A frustrated Will tells his wife that he’s going to the job center after she tells him that brother Danny has called (followed by her plea to not return those calls). Meanwhile, EMT vet Cam Thompson (Eiza Gonzalez) responds to a gruesome car accident involving a pre-teen girl as her rookie driver tries not to faint. After a trip back to the hospital she tells him that her concerns end after those rescued leave the vehicle. Cut to Will who, naturally, shows up at the “car storage center’ run by brother Danny (Jake Gyllenhaal). Will begs for a loan to cover the quarter-million procedure to save his wife. Ah, but Danny has a way for him to earn that…and a whole lot more. As if his “auto service” wasn’t shady enough, turns out that he’s put together a crew to grab some in-transit cash that’s being held temporarily at a downtown LA bank. Oh, that “grab” will net them 32 million bucks. Will agrees and is riding with the gang minutes later. Of course, things go sideways immediately. Will accidentally shoots a young cop, the getaway vehicle is destroyed, and the two brothers are fleeing on foot. Wouldn’t you know that Cam and her driver pick up the wounded cop, and are then hijacked by Will and Danny (after knocking out the driver). Thus begins a harrowing chase through the town via highways and side streets as the police try to stop them without endangering their ‘fallen brother”. A grizzled police captain (Garrett Dillahunt) must work with a preppy FBI agent (Keir O’Donnell) who has a personal connection to Danny. Meanwhile, he’s hoping to get some help from a pal of his late gangster father, a vicious criminal kingpin named Papi (A Martinez). With all the ensuing carnage and destruction can Cam keep her patient alive while also struggling to survive the desperate duo?

Oh, Mr. Gyllenhaal, you should be more selective than this. To be fair he does imbue Danny with lots of energy, swinging from motor-mouthed snarky goofball to hair-trigger lunatic. But really, didn’t you learn anything from PRINCE OF PERSIA: SANDS OF TIME? Sure he’s believable as a whipsmart hustler, though his frenetic delivery just wears out its welcome. Mateen II is the calmer, more reflective counterpart, sort of “good thief/bad thief”, but he’s either tortured by guilt or straining to reign in Danny while matching his level of histrionics. Gonzalez breaks out of the “eye candy” mold as the often cynical healer who knows that she’s “in over her head’ trying to keep her “charge” alive, appealing to Wil’s “better angels”, and defusing Danny’s white-hot temper. She’s the anchor for the story’s many ludicrous missteps. An equally excellent supporting player, Dillahunt, has little to do but grumble and squint as the grizzled “hardcase-in-charge”. who must trade verbal barbs with the arrogant “fed” played by O’Donnell as a prickly alarmist whose pleas fall on deaf ears (or maybe it’s just the nonstop noise). Martinez attempts to inject some humanity into the sinister gang boss, but he’s reduced to a final act subplot.

You know you’re in trouble when the film’s director “name-checks” two of his previous films in the first 20 minutes. And that’s just what the aforementioned action flick impresario Michael Bay does. After finishing up five giant robot flicks, he’s back to trash loads of vehicles (makes THE BLUES BROTHERS look restrained) that can’t transform and speak. Well, their circuits might have overheated trying to process the clunky dialogue in the screenplay by Chris Fedak which adapts a 2005 Danish flick (no doubt much was lost in translation). The overworked Bay directorial touches are in overdrive here, almost to the point of parody. The big first reunion between the “brother’ has the camera in constant motion, spinning around the duo (pass the Dramamine). A few moments later, as the caper is put into motion, the millisecond editing begins its unending assault (I guess a shot can’t last more than two seconds). And now a new “toy” gets overused: the camera drone. Establishing shots must “loop the loop” before landing on the characters (more like cliches, really). The visual gymnastics are only briefly paused for a stilted scene in a therapist’s office involving a gay couple (now that’s some edgy comedy). It’s ham-fisted, heavy-handed, and just lazy (did I mention the infrared “body-heat” shots). The most jarring example may be from its final moments as we’re treated to another hazy silent “memory” of the brothers as boys playing “cowboy. Now there’s supposed to be, say 33 or 35, right? So were kids playing HIGH NOON in 1995, complete with a Sheriff costume that looks to be from the 1964 Sears catalog? That just adds to the irritation as this excruciating nonsense does its damage to our senses (think of a 137-minute pummeling to the head with a ball-peen hammer). After this endurance test (or torture) you might just wish your drive home from the multiplex was an AMBULANCE. Serenity…stat!!

1/2 Out of 4

AMBULANCE is now playing in theatres

Check Out The New Featurettes For Michael Bay’s AMBULANCE And Watch Composer Lorne Balfe Conduct The Score At Abbey Road Studios

Michael Day’s latest film, AMBULANCE, hits theaters on April 8. Universal Pictures has released two new featurettes leading up to the film’s debut – only in theaters.

Go behind the scenes with the director and actors Jake Gyllenhaal, Yahya Abdul-Mateen II, Eiza González.

Catch a closer look at how the movie’s action sequences were grabbed by a drone and its impressive pilot.

https://www.ambulance.movie/

Over one day across the streets of L.A., three lives will change forever.

In this breakneck thriller from director-producer Michael Bay, decorated veteran Will Sharp (Emmy winner Yahya Abdul-Mateen II, Candyman, The Matrix Resurrections), desperate for money to cover his wife’s medical bills, asks for help from the one person he knows he shouldn’t—his adoptive brother Danny (Oscar® nominee Jake Gyllenhaal, Zodiac, Spider-Man: Far From Home). A charismatic career criminal, Danny instead offers him a score: the biggest bank heist in Los Angeles history: $32 million. With his wife’s survival on the line, Will can’t say no.

But when their getaway goes spectacularly wrong, the desperate brothers hijack an ambulance with a wounded cop clinging to life and ace EMT Cam Thompson (Eiza González, Fast & Furious Presents: Hobbs & Shaw, Baby Driver) onboard. In a high-speed pursuit that never stops, Will and Danny must evade a massive, city-wide law enforcement response, keep their hostages alive, and somehow try not to kill each other, all while executing the most insane escape L.A. has ever seen.

Director Michael Bay on the set of Ambulance.

AMBULANCE’s composer, Lorne Balfe, (BLACK WIDOW, RUMBLE, THE TOMORROW WAR, MISSION: IMPOSSIBLE – FALLOUT) sent out these tweets and gives fans of film scores a peek at what happens during a recording session.

Ambulance is produced by Michael Bay, p.g.a., Bradley J. Fischer, p.g.a. (Zodiac, Shutter Island) for New Republic Pictures, James Vanderbilt (Zodiac, 2022’s Scream) and William Sherak (Ready or Not, 2022’s Scream) for Project X, and Oscar® nominee Ian Bryce (Transformers franchise, Saving Private Ryan).

The screenplay is by Chris Fedak (Prodigal Son, Chuck), based on the original story and screenplay for the 2005 Danish thriller Ambulancen by Laurits Munch-Petersen and Lars Andreas Pedersen.

(from left) Will Sharp (Yahya Abdul-Mateen II) and Danny Sharp (Jake Gyllenhaal) in Ambulance, directed by Michael Bay.
(from left) Jake Gyllenhaal, Yahya Abdul-Mateen II, director Michael Bay and Eiza González on the set of Ambulance.

Watch Keanu Reeves And Carrie-Anne Moss In Second Trailer For THE MATRIX RESURRECTIONS

A brand-new trailer is here for the highly anticipated THE MATRIX RESURRECTIONS.

From visionary filmmaker Lana Wachowski comes “The Matrix Resurrections,” the long-awaited next chapter in the groundbreaking franchise that redefined a genre. The new film reunites original stars Keanu Reeves and Carrie-Anne Moss in the iconic roles they made famous, Neo and Trinity.

In “The Matrix Resurrections,” return to a world of two realities: one, everyday life; the other, what lies behind it. To find out if his reality is a physical or mental construct, to truly know himself, Mr. Anderson will have to choose to follow the white rabbit once more. And if Thomas…Neo…has learned anything, it’s that choice, while an illusion, is still the only way out of—or into—the Matrix. Of course, Neo already knows what he has to do. But what he doesn’t yet know is the Matrix is stronger, more secure and more dangerous than ever before. Déjà vu.

Reeves reprises the dual roles of Thomas Anderson/Neo, the man once saved from the Matrix to become the savior of humankind, who will once again have to choose which path to follow. Moss portrays the iconic warrior Trinity… or is she Tiffany, a suburban wife and mother of three with a penchant for superpowered motorcycles?

Yahya Abdul-Mateen II (“Candyman,” the “Aquaman” franchise) plays the wise and worldly Morpheus who, as always, serves as a guide to Neo while also fulfilling his own greater purpose on a very singular journey of self-discovery.

Jessica Henwick (TV’s “Iron Fist,” “Star Wars: Episode VII – The Force Awakens”) plays the hacker Bugs, the proverbial white rabbit on a mission to discover the one who sacrificed himself for humankind–and willing to take any risk necessary in search of the legend she idolizes.

Jonathan Groff (“Hamilton,” TV’s “Mindhunter”), plays Thomas Anderson’s business partner, a slick, confident corporate type with insouciant charm, a disarming smile and an eye on the bottom line–everything Mr. Anderson is not.

Neil Patrick Harris (“Gone Girl”) plays Thomas’ therapist, working closely with his patient to understand the meaning behind his dreams and to distinguish them from reality.

Priyanka Chopra Jonas (TV’s “Quantico”) plays a young woman with a wisdom that belies her years and an ability to see the truth, no matter how murky the waters.

And Jada Pinkett Smith (“Angel Has Fallen,” TV’s “Gotham”) returns as Niobe, the fierce General who once fought for the survival of Zion and who now sees to the welfare of her people with a familiar fire in her eyes, despite a sense of disbelief and suspicion upon Neo’s return.

Lana Wachowski directed from a screenplay by Wachowski & David Mitchell & Aleksandar Hemon, based on characters created by The Wachowskis. The film was produced by James McTeigue, Lana Wachowski and Grant Hill. The executive producers were Garrett Grant, Terry Needham, Michael Salven, Karin Wachowski, Jesse Ehrman and Bruce Berman.

Wachowski’s creative team behind the scenes included “Sense8” collaborators: directors of photography Daniele Massaccesi and John Toll, production designers Hugh Bateup and Peter Walpole, editor Joseph Jett Sally, costume designer Lindsay Pugh, visual effects supervisor Dan Glass, and composers Johnny Klimek and Tom Tykwer.

Warner Bros. Pictures Presents, In Association with Village Roadshow Pictures, In Association with Venus Castina Productions, “The Matrix Resurrections.” The film will be distributed worldwide by Warner Bros. Pictures. It will be in theaters nationwide and on HBO Max via the Ad-Free plan on December 22, 2021; it will be available on HBO Max in 4K UHD, HDR10, Dolby Vision and Dolby Atmos (English only) on supported devices for 31 days from theatrical release.

Rated R for Violence and Some Language.

https://www.whatisthematrix.com/

Watch Jake Gyllenhaal And Yahya Abdul-Mateen II In First Trailer For Michael Bay’s AMBULANCE

Over one day across the streets of L.A., three lives will change forever.

In this breakneck thriller from director-producer Michael Bay, decorated veteran Will Sharp (Emmy winner Yahya Abdul-Mateen II, Candyman, The Matrix Resurrections), desperate for money to cover his wife’s medical bills, asks for help from the one person he knows he shouldn’t—his adoptive brother Danny (Oscar® nominee Jake Gyllenhaal, Zodiac, Spider-Man: Far From Home). A charismatic career criminal, Danny instead offers him a score: the biggest bank heist in Los Angeles history: $32 million. With his wife’s survival on the line, Will can’t say no.

But when their getaway goes spectacularly wrong, the desperate brothers hijack an ambulance with a wounded cop clinging to life and ace EMT Cam Thompson (Eiza González, Fast & Furious Presents: Hobbs & Shaw, Baby Driver) onboard. In a high-speed pursuit that never stops, Will and Danny must evade a massive, city-wide law enforcement response, keep their hostages alive, and somehow try not to kill each other, all while executing the most insane escape L.A. has ever seen. 

Ambulance is produced by Michael Bay, p.g.a., Bradley J. Fischer, p.g.a. (Zodiac, Shutter Island) for New Republic Pictures, James Vanderbilt (Zodiac, 2022’s Scream) and William Sherak (Ready or Not, 2022’s Scream) for Project X, and Oscar® nominee Ian Bryce (Transformers franchise, Saving Private Ryan).

The screenplay is by Chris Fedak (Prodigal Son, Chuck), based on the original story and screenplay for the 2005 Danish thriller Ambulancen by Laurits Munch-Petersen and Lars Andreas Pedersen.

Only In Theaters February 18

https://www.Ambulance.movie

Jake Gyllenhaal as Danny Sharp in Ambulance, directed by Michael Bay.
(from left) Will Sharp (Yahya Abdul-Mateen II) and Danny Sharp (Jake Gyllenhaal) in Ambulance, directed by Michael Bay.
Jake Gyllenhaal as Danny Sharp in Ambulance, directed by Michael Bay.
Director Michael Bay on the set of Ambulance.

THE MATRIX RESURRECTIONS Red Pill Or Blue Pill – You Choose And See First Video Of THE MATRIX 4 With Keanu Reeves

Warner Bros. Pictures has released a first teaser poster along with the website for THE MATRIX RESURRECTIONS, prior to the first big trailer release this Thursday. In the original movie, Neo (Keanu Reeves) was told by Morpheus (Laurence Fishburne): “You take the blue pill…the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill…you stay in Wonderland, and I show you how deep the rabbit hole goes.” Neo chooses the red pill and joins the rebellion.

http://whatisthematrix.com/

The long-awaited fourth film in the “Matrix” universe, the groundbreaking franchise that redefined a genre, “The Matrix Resurrections” reunites original stars Keanu Reeves and Carrie-Anne Moss as Neo and Trinity, the iconic roles they made famous in “The Matrix.”

The film also stars Yahya Abdul-Mateen II (the “Aquaman” franchise) Jessica Henwick (TV’s “Iron Fist,” “Star Wars: Episode VII – The Force Awakens”), Jonathan Groff (“Hamilton,” TV’s “Mindhunter”), Neil Patrick Harris (“Gone Girl”), Priyanka Chopra Jonas (TV’s “Quantico,”), Christina Ricci (TV’s “Escaping the Madhouse: The Nellie Bly Story,” “The Lizzie Borden Chronicles”), Telma Hopkins (TV’s “Dead to Me,”), Eréndira Ibarra (series “Sense8,” “Ingobernable”), Toby Onwumere (TV’s “Empire”), Max Riemelt (series “Sense8”), Brian J. Smith (series “Sense8,” “Treadstone”), and Jada Pinkett Smith (“Angel Has Fallen,” TV’s “Gotham”).

Lana Wachowski directed from a screenplay by Wachowski & David Mitchell & Aleksander Hemon, based on characters created by The Wachowskis. The film was produced by Grant Hill, James McTeigue and Lana Wachowski. The executive producers were Garrett Grant, Terry Needham, Michael Salven, Jesse Ehrman and Bruce Berman. Wachowski’s creative team behind the scenes included “Sense8” collaborators: directors of photography Daniele Massaccesi and John Toll, production designers Hugh Bateup and Peter Walpole, editor Joseph Jett Sally, costume designer Lindsay Pugh, visual effects supervisor Dan Glass, and composers Johnny Klimek and Tom Tykwer.

In theaters and IMAX and on HBO Max on December 22. Available on HBO Max for 31 days from theatrical release.

The Matrix Resurrections (@TheMatrixMovie) / Twitter

CANDYMAN (2021) – Review

Michael Hargrove as Sherman Fields in Candyman, directed by Nia DaCosta.

Hey, is this the end of August and near the end of Summer), or is it October, around mid-Fall? Just wondering since this is the third weekend in a row with the release of a new horror flick to theatres. Hmm, maybe the studios are getting a bit of a “head start” in case our health situation goes ‘sideways” (as if that thought’s not scary enough). Last week’s release was an original idea, while the 8/13 premiere was a sequel to a flick from five years previous. Now the roots for this week’s big shocker go back nearly thirty years, but it’s not really a reboot, remake, or a “re-imagining”. The marketeers are dubbing this a “spiritual sequel” as it harkens back to that 1992 original and ignores its sequels (much as the 2018 HALLOWEEN only references the 1978 classic). And with the recent social injustice movements, today might just be primed for a return of the CANDYMAN. But only say the title once, just to be safe.

Hmmm, a chiller that begins with a puppet show? Oh yes, as paper-cut silhouettes, moved by sticks, play out the story of research student Helen Lyle’s fateful encounter with Cabrini Green’s (the notorious low-rent housing complex in the “Windy City”) avenging spirit, the Candyman. The murdered wraith from the late 1800s eviscerated lots of folks with his hook for a right hand when they repeated his name five times while staring into a reflective surface. After the “recap” (and a brief 1977 sequence at “the Green”), the story shifts to the modern-day as Troy (Nathan Stewart-Jarrett) and his new boyfriend attend a dinner party at the swanky Chicago apartment of his art gallery manager sister Brianna (Teyonah Parris) and her beau, up-and-coming fine artist Anthony (Yahya Abdul-Mateen II). Over drinks, Troy tells the tale of the Candyman as Brianna scoffs. However, Anthony is curious as the “urban legend” sparks his imagination (he’d gone “dry” preparing new pieces for a fast-approaching gallery showcase). Later he sneaks into the remaining row houses of Cabrini (The towers had been torn down to make space for the trendy gentrified neighborhood long ago) and runs into former resident Burke (Colman Domingo), who runs a nearby laundromat. He tells Anthony of his time there and of a different Candyman. But on his way home the artist is surprisingly stung by an errant bee. Anthony thinks nothing of the nasty welt as he hurriedly prepares his new pieces. He displays the mirrored door at the opening with a paper handout explaining it (basically challenging patrons to repeat “Candyman” five times). Of course, someone takes the dare, and…the local news is soon filled with reports of gruesome bloody killings. Has Anthony helped bring the hooked monster into the new century? Could the two be somehow connected? And why is that bee sting looking so gnarly?

The award-winning cast aids in adding to the film’s tension-filled dark “vibe”. Mateen, so good in the HBO “Watchmen” sequel, expertly balances the complex character shifts in Anthony. He shows us how the artist’s struggle for a defining work is swept away by his all-consuming need to know all about the “silly fairy tale”. And he’s not afraid to show the awful side of Anthony’s persona as too many drinks unleash his verbally abusive id (mostly directed at art rivals). We’re rooting for him, even as he changes mentally and physically while falling deeper into the supernatural “rabbit hole”. It’s a plunge that can’t be slowed by the love of Brianna, played with grit and “street smarts” by the engaging Parris (part of the superb “Wandavision”). She shows Brianna’s devotion to Anthony even as she tries in vain to halt his obsessions. Those are fueled by Burke played with a sinister zeal by Domingo (“Fear the Walking Dead”)., who seems horrified by his own past, but delighted to pass on the nightmares to Anthony. Kudos also to Stewart-Jarrett who’s having a great time as the catty Troy, and Rebecca Spence who happily spews venom as a castigating art critic (ain’t they the worst).

Director Nia DaCosta, fresh off the heart-breaking family drama LITTLE WOODS, proves her talents by entering the horror genre and mixing a familiar horror icon with the current social and political clime. Yet, the film feels a tad sluggish and very disjointed (I have expected to see the “scene missing” title card from GRINDHOUSE). The discoverer of a gory slaying is abruptly seen in bed (quite a narrative jump). Perhaps that can be traced to the screenplay DaCosta contributed to along with producer Jordan Peele and Win Rosenfeld (using the original characters from Clive Barker and Bernard Rose). Though I never saw the original I could pick up (after a bit of research) the notion that they were playing to the 1992 film’s rabid fans, even using actress Virginia Madsen’s vocal track (and a nice final VFX sequence), the twists are often predictable (another bullying scene in a deserted high school bathroom), and social norms and logic (beyond the usual “suspension of disbelief”) feel ignored (Brianna would certainly insist that Anthony see a doctor, as his bandages pop on and off). Some of the digs at the pretentious “modern art world” are nice, as is the use of those stick paper puppets (watch them during the end credits), but many horror fans will find that this re-visiting more sour than sweet as they consume the brightly re-packaged CANDYMAN. “Talk about your childhood wishes (and nightmares).”

2 Out of 4

CANDYMAN opens in theatres everywhere on August 27, 2021

Nia DaCosta’s Upcoming Horror Movie CANDYMAN Gets A New Trailer – In Theaters August 27

Oscar® winner Jordan Peele unleashes a fresh take on the blood-chilling urban legend: Candyman. Filmmaker Nia DaCosta (Little Woods, upcoming Captain Marvel 2) directs this contemporary incarnation of the cult classic.

Here’s your first look at the brand new trailer.

For as long as residents can remember, the housing projects of Chicago’s Cabrini-Green neighborhood were terrorized by a word-of-mouth ghost story about a supernatural killer with a hook for a hand, easily summoned by those daring to repeat his name five times into a mirror. In present day, a decade after the last of the Cabrini towers were torn down, visual artist Anthony McCoy (Yahya Abdul-Mateen II; HBO’s Watchmen, Us) and his partner, gallery director Brianna Cartwright (Teyonah Parris; If Beale Street Could Talk, The Photograph), move into a luxury loft condo in Cabrini, now gentrified beyond recognition and inhabited by upwardly mobile millennials.

With Anthony’s painting career on the brink of stalling, a chance encounter with a Cabrini-Green old-timer (Colman Domingo; HBO’s Euphoria, Assassination Nation) exposes Anthony to the tragically horrific nature of the true story behind Candyman. Anxious to maintain his status in the Chicago art world, Anthony begins to explore these macabre details in his studio as fresh grist for paintings, unknowingly opening a door to a complex past that unravels his own sanity and unleashes a terrifying wave of violence that puts him on a collision course with destiny.

Candyman, in silhouette, in Candyman, directed by Nia DaCosta.

Watch what the director has to say about Juneteenth.

Universal Pictures presents, from Metro Goldwyn Mayer Pictures and Jordan Peele and Win Rosenfeld’s Monkeypaw Productions, in association with BRON Creative, Candyman. Candyman is directed by DaCosta, and is produced by Ian Cooper (Us), Rosenfeld and Peele. The screenplay is by Peele & Rosenfeld and DaCosta.

The film is based on the 1992 film Candyman, written by Bernard Rose, and the short story “The Forbidden” by Clive Barker. The film’s executive producers are David Kern, Aaron L. Gilbert and Jason Cloth.

https://www.candymanmovie.com/

Rated “R” for “Bloody horror violence, and language including some sexual references.”

(from left) Teyonah Parris and director Nia DaCosta on the set of Candyman.

©2021 Metro-Goldwyn-Mayer Pictures Inc. and Bron Creative MG1, LLC. All Rights Reserved. CANDYMAN is a trademark of Metro-Goldwyn-Mayer Studios Inc. All Rights Reserved.