Go and Tell Everyone About 'Candyman'
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.

All-Is-Well collects ordinary adventures remembered only because they survive in home movies. Against a backdrop of distant news events, kids stampede for Easter eggs; horses run together; families read pulps and shoot craps; cooks fry; tin-can tourists work hard at leisure; people pose, clown and drink, pull back the husks of sweet corn. For them and for us, remaking the ephemeral gesture is both a small pleasure and an act of survival. The home movie segments used in the film date from 1930 to 1969, the period in which the near-infinite and mostly-unseen archive of home movies that awaits our attention was born.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
“Nobody 2” is the kind of sequel you expect to roll your eyes at—and then end up grinning through the whole thing. Bob Odenkirk proves once again that an ordinary-looking guy can be the most entertaining action hero alive, battling cartels with harpoons, deep fryers, and pure chaos. Toss in Sharon Stone as a delightfully over-the-top villain, and you’ve got 89 minutes of wild, joyful mayhem that reminds you why going to the movies is just plain fun.
This coming-of-age Mexican movie is about a group of school children who fulfill their dreams.
We sat down with Writer/Director Albert Acosta to discuss his debut short film, (ha-ha), Acosta's foray into narrative cinema, and how his personal experiences have shaped his filmmaking philosophy.
A direct fall into the white savior narrative