"Bloody CRT Race War"
What You Need To Know:
The background story to this politically correct gorefest doesn’t always make sense. For example, it turns out that Candyman can actually come in the form of any black man who’s been tortured and murdered by white people, rather it be rich white people or modern-day police. How this happens exactly is not revealed. CANDYMAN seems to reflect the Romantic, Non-Christian, Anti-American, lawless worldview of today’s Marxist Critical Race Theorists, who divide people into race, sex, class, ethnicity, and “gender.” More than that, the filmmakers seem to justify the murder of white people because of all-powerful white bigotry and “privilege.” CANDYMAN also contains lots of strong foul language and extreme bloody violence.
CANDYMAN is both a reboot and a sequel of a 1992 urban horror movie where, in the new movie, a black artist in Chicago becomes mesmerized by the bloody legend of the revenge-minded ghost of a black man who was wrongly beaten and killed by the Chicago police when they mistakenly thought he was putting razor blades in local white children’s Halloween candy. The background story to CANDYMAN doesn’t fully make sense, but it’s a gory, politically correct horror flick with lots of strong foul language that endorses violent, bloody revenge against white people, including white cops, who are depicted mostly as bad, except for two white homosexual characters and an art gallery owner and his assistant.
The story follows Anthony McCoy, a young black painter in Chicago trying to get recognized. Anthony lives with his girlfriend, Brianna, who arranges art shows for local art galleries but would like to work for a big gallery or own her own gallery. Brianna’s homosexual brother and his white boyfriend visit one evening. The brother tells them the story about the Candyman, who appeared to a white grad student named Helen Lyle investigating Candyman and other urban legends. More than 20 years ago, after appearing to Helen, Candyman stole a black woman’s baby in the ghetto at the infamous Cabrini-Green housing projects. He threatened to burn the baby to death at the annual Halloween bonfire. Helen saved the baby but lost her own life in the fire.
Anthony becomes fascinated by the Candyman legend. When a gallery owner working with Brianna tells Anthony he wants him to create something new for a gallery show, Anthony decides to do something involving the Candyman legend. Anthony’s actions summon the violent, demonic ghost, and Candyman starts murdering people in gruesome ways that attracts big publicity.
The background story to this politically correct gorefest doesn’t always make sense. For example, the Candyman story Brianna’s homosexual brother tells them eventually turns out to have an important connection to Anthony himself. So, why didn’t the brother know that, especially since it’s not that big of a secret? Also, the movie reveals that the fictional Candyman legend ultimately is supposed to originate in the late 1800s, with a portrait artist tortured and murdered by a mob of wealthy white people because he fell in love with and impregnated a rich client’s beautiful daughter. Somehow, however, the original ghost has transferred his powers to other black men who have been tortured and murdered down through the years by racist white people, including white cops. The current Candyman turns out to be the revenge-minded ghost of a black man who was wrongly beaten and killed by the Chicago police when they mistakenly thought he was putting razor blades in local white children’s Halloween candy. The movie never explains how the gruesome Candyman job gets transferred to the other black men. It all seems to be, however, a supernatural way for victimized black men to get revenge against America’s racist white society. In fact, during the movie, four white high school girls, who like mistreating a nerdy black girl in their school, summon Candyman in the girls bathroom, and he promptly murders the four girls in bloody fashion. The bullied black girl, frightened out of her mind, hears the slaughter and screams while she cowers in one of the bathroom stalls. So, any racial bigotry deserves a death sentence, according to this movie.
Ultimately, therefore, CANDYMAN seems to reflect the Romantic, non-Christian, anti-American, lawless worldview of today’s Neo-Marxist Critical Race Theorists, who strongly advocate dividing people into race, sex, class, ethnicity, and “gender.” More than that, however, the filmmakers seem to be justifying the murder of white people because of white people’s all-powerful bigotry, power and privilege. Apparently, the filmmakers want to start a race war, like Charlie Manson. CANDYMAN also contains lots of strong foul language and extreme bloody violence.
Of course, contrary to the “woke” Critical Race Theorists in the education establishment and mass media, racial and ethnic minorities, women, poor people, homosexuals, bisexuals, and confused “transgender” people are not merely oppressed “victims” of white society. This doesn’t mean that no one in the world is oppressed. The Bible says that some people are indeed oppressed. However, oppression doesn’t just come in the form of racial oppression, sexual oppression or economic oppression. It also comes from the Ahabs, Jezebels, socialists, and “woke” leftists who run government at the local, state and federal level, including those running our primary and secondary government schools and universities.