"Candyman... Candyman... Candyman... Candyman..."

Technically marvelous and very modernly shot, Nia DaCosta and Jordan Peele's Candyman feels like it has some seriously strong bones under its flimsy and somewhat inconsistent flesh. If you like Peele's other work (Get Out, Us) you're going to love Candyman. If not, you're going to think this was just ok but are going to look forward to future work from the director and other crewmembers.

The cinematography, score, and performances in Candy elevate the series out of the depths it had fallen into by the late 90's. These elements of the film are absolutely masterful and truly wonderful to behold. Beyond that though, it falls into another Peele trap of having something to say, and then forgetting the words 3/4 of the way through.

Conceptually, I love Jordan Peele's work. Practically? I find it all to be a little heavy handed morally and a little loose narratively. Like Get Out and Us, the ultimate twist in Candyman just doesn't matter. Like Get Out and Us, characters find themselves in situations and doing things that people simply wouldn't do, despite being otherwise reliable as "normal" people. Like his other work, Candyman incorporates moving parts that simply don't serve the machine in any way other than to distract from the message and leave you wondering why they were included by the end. I've said it before and I'll say it again; Jordan Peele should make television, where he has more limitations and is forced to stay more focused.

If you want to see something that deals with the same issues as Candy, but doesn't get as lost in the weeds; watch Them (just skip episode 9 -- literally don't watch it at all).

Candyman wasn't bad, but it was almost great and that's why it hurts. With some minor tweaks and touch-ups around the edges, this could have truly been one to remember.

"Candyman..."