The CANDYMAN is back for more gory revenge in the horror sequel entitled, FAREWELL TO THE FLESH. Visual attempts at dark humor are not funny, and while the movie is suspenseful, it suffers from an underveloped plot, poor acting performances and offensive content including gory violence and sexually explicit immorality.
(O, LL, VVV, SS, NNN, A) Occult worldview featuring demonic killer summoned by incantation & violent revenge; 3 obscenities, 4 profanities & 12 vulgarities; murder, gory stabbings & man's hand severed; sexual intercourse depicted & implied; female nudity in sex scenes & in shower; and, alcohol use in bar.
The CANDYMAN is back for more gory revenge in the horror sequel entitled, FAREWELL TO THE FLESH. In the first movie, black artist Daniel Robitaille impregnated a white plantation owner’s daughter in the post-bellum South. For this, he was beaten, his hand severed and his entire body smeared with honey to entice a swarm of bees to attack and kill him. During this agonizing ordeal, Robitaille was forced to look at his face in a hand mirror, which somehow captured his tortured soul. Now (in the present), if anyone looking in any mirror calls his name five times, he appears — but not for a friendly visit. A sharp hook now replaces his severed hand. So goes the legend of the Candyman. Cut to modern-day New Orleans at Mardi Gras, and the legend of the Candyman is alive and well, which is more than can be said for those who summon him.
In CANDYMAN, author Clive Barker attempts to make credible the unexplainable by using belief in legends and folklore. His main plot device involves the romantic notion of a tragic love story or, as in Shelly’s FRANKENSTEIN, attempts to illicit sympathy for the tormented monster. Visual attempts at dark humor are not funny, and while the movie is suspenseful, it suffers from a weak plot, poor acting performances and offensive content including gory violence and sexual immorality.
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