Enid’s job is to go through these “Video Nasties” frame by frame and edit out anything that could be considered morally corrupting. It’s the mid-1980s and decent folks everywhere were afraid of the gore films that had begun infiltrating the home video market, and what their influence might be. Niamh Algar is highly effective as the dewy, wounded Enid Baines, the title censor, who works for the British Board of Film Classification. Prano Bailey-Bond’s Censor is a clever, creeping meta-horror story that recalls a time when the genre was considered dangerous. In the 1980s, film censor Enid Baines (Niamh Algar) goes on a nightmarish quest to find her missing sister in Censor. And, through archival footage and recordings, Helen Lyle (Virginia Madsen) haunts the new film as well. Teyonah Parris plays Anthony’s art gallery director girlfriend, and Vanessa Williams reprises her role from the original film. Her sturdy screenplay-co-written by Jordan Peele-neatly balances discourse with terror, and manages to feel urgent rather than disposable. DaCosta ( Little Woods) uses a hypnotic color and visual palette across the film, including a crafty use of silhouettes for flashbacks. The legend inspires him to create a new art piece, entitled “Say My Name.” Unfortunately, the monster is summoned once again-played, as always, by Tony Todd-and begins to create fresh havoc. Rather, it takes the old story and traces a new path through it, asking questions about art, storytelling, appropriation, gentrification, and the Black Lives Matter movement.Īn artist, Anthony (Yahya Abdul-Mateen II) learns about the legend of the Candyman, who terrorized the Cabrini–Green housing projects decades earlier. Nia DaCosta’s Candyman (2021) is something more than a reboot, remake, or another sequel. While inspired by Clive Barker’s 1985 story “The Forbidden,” the original Candyman was released in 1992, followed by two sequels. Anthony (Yahya Abdul-Mateen II) finds artistic inspiration in a terrifying old legend in Candyman.
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