Cinema needs more women filmmakers, more films created by people of color.

Horror cinema needs to be much more creative.

Director Nia DaCosta takes care of each of these issues with her strikingly excellent direct sequel to 1992’s “Candyman,” which stands (in this critic’s opinion) as the finest cinematic translation of Clive Barker’s work. The original film was based on Barker’s short

Earlier this week I re-watched the original “Candyman” from 1992 in which a pair of enterprising though credulous graduate students (Virginia Madsen and Kasi Lemmons) seek to catalog and/or debunk Chicago urban legends. One legend in particular drew them in: the story of a late-nineteenth-century black portraitist whose affair with a wealthy white patron’s daughter resulted not only in her pregnancy but in her father’s hiring a mob