Candyman: Farewell to the Flesh – USA, 1995

‘Evil comes when you call his name’

Candyman: Farewell to the Flesh is a 1995 American supernatural horror feature film directed by Bill Condon (The Twilight Saga: Breaking Dawn: Part 1 and 2; Gods and Monsters; Sister, Sister) from a screenplay by Rand Ravich and Mark Kruger.

The movie is a sequel to the 1992 horror classic Candyman, an adaptation of the Clive Barker short story “The Forbidden”. The Propaganda Films production stars Tony Todd, Kelly Rowan, William O’Leary, Bill Nunn, Matt Clark and Veronica Cartwright.


The father of New Orleans schoolteacher Annie Tarrant (Kelly Rowan) was murdered in a Candyman-like fashion some years prior.

When Professor Philip Purcell is murdered in a bathroom by Candyman after presenting the legend at a book signing and calling him forth, Annie’s brother is accused of the murder (since his furious public confrontation of Purcell over the subject) and one of her students starts to see the Candyman.

In order to disprove to herself that the Candyman exists, she says his name five times in front of a mirror, summoning him to New Orleans on the eve of Mardi Gras, where the killings begin in earnest…


“The deliberate pacing of the first movie is tossed out the window this second time around for a whole lot of jump scares and unnecessary (and sometimes remarkably ineffective) red herrings, and that’s a shame, but despite this Candyman: Farewell to the Flesh is entertaining enough if more often than not fairly superficial. ” Ian Jane, DVD Talk

“With lots of pointless (get it?) gore-strewn impaling capped by an unaffecting climax/flashback to Candyman’s tragic demise, everything feels a little thin this time around. Philip Glass’ haunting musical themes make a welcome return to the fold, but it’s hard to get too worked up about what amounts to a repeat performance. ” Aaron Christensen, Horror 101 with Dr. AC

“Director Bill Condon has a sense of style but a heavy hand with actors–you can all but hear them telling themselves to hit their marks and punch out their lines. Still, Rowan is game, Todd again a figure of sinister dignity–this time the Candyman is allowed more pathos–and veteran Matt Clark shines in supporting role as a dabbler in the occult.” Kevin Thomas, Los Angeles Times

” …it is constantly trying to create mood and atmosphere but does so at the expense of basic plausibility. Director Bill Condon throws in false shock jumps at every conceivable opportunity – birds landing, derelicts jumping out at the heroine, Mardi Gras dancers slamming against the window, people unexpectedly touching others on the shoulder or entering the room reflected in a mirror.” Richard Scheib, Moria

“Anyone noteworthy simply isn’t around long enough to make much of an impact, which allows Candyman 2 to follow the recipe of the slasher follow-up: a sprinkle of added mythology, a lot of familiarity, even more bloodshed, and a tease for another sequel. To this end, it’s a decent success, especially with Condon on board to infuse the proceedings with some style…” Brett Gallman, Oh, the Horror!

“The script is constructed too much like a novel, which slows the pace of the early, establishing sections. Director Bill Condon works too hard to tie all the plot strands into a neat bow. So, for much of the picture, the audience is way ahead of the screen characters in guessing what comes next.” Leonard Klardy, Variety

“Todd is still menacing and scary, the grue doesn’t hold much back, and New Orleans always makes for an appealing filmic backdrop. Rowan’s role is limited by its through-the-motions writing, and she doesn’t seem that traumatised by the pretty f*cking gory murder of her husband right in front of her.” Vegan Voorhees

“This flick is just a straight up mess.  Like the Freddy and Michael Myers sequels, this installment gives way too much background on the Candyman and ruins the mystique of the character.  All it does if further jumble up an already incoherent plot line.  The worst part of the movie though is the constant false scares.” Mitch Lovell, The Video Vacuum

Choice dialogue:

Octavia Tarrant: “He’ll make a great father. Of course, I’ll be fuel for the worms by then.”

The Candyman: “Come with me and sing my song of misery.”

Cast and characters:

  • Tony Todd … The Candyman / Daniel Robitaille
  • Kelly Rowan … Annie Tarrant
  • Bill Nunn … Reverend Ellis
  • William O’Leary … Ethan Tarrant
  • Veronica Cartwright … Octavia Tarrant
  • Matt Clark … Honore Thibideaux
  • Randy Oglesby … Heyward Sullivan
  • Joshua Gibran Mayweather … Matthew Ellis
  • David Gianopoulos … Detective Ray Levesque
  • Timothy Carhart … Paul McKeever
  • Michael Bergeron … Coleman Tarrant
  • Fay Hauser … Pam Carver
  • Caroline Barclay … Caroline Sullivan
  • Clotiel Bordeltier … Liz
  • Michael Culkin … Phillip Purcell
  • George Lemore … Drew
  • Ralph Joseph … Mr. Jeffries
  • Margaret Howell … Clara

Technical credits:

93 minutes | 1.85: 1 | Dolby SR

Filming locations:

Principal filming from 16 August 1994 to 19 October 1994 in Los Angeles and New Orleans

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Vogue Writer Slams Horror: “Where Have All the Good Horror Movies Gone?”

Remember when horror was good?” asks Vogue writer Taylor Antrim, who proclaims 2018 void of any good horror movies in an article published this week, yet still works in mentions of Hereditary and A Quiet Place – the latter of which he calls a “thriller”. Sigh.

We didn’t even get a decent shark movie this year,” he bolsters like that’s some kind of quantifiable statistic over the past 100 years of cinema. (The funny thing is, the fact that we even did get a mega budget shark blockbuster with The Meg actually shows how huge horror is right now.)

The writer then slams Halloween, before he comically tells readers to watch Revenge, which, I hate to break it to him, came out this year. Remember when horror was good? Like, you mean right now? In this very moment we’re living inside of?

Then, Suspiria is removed from the equation. “Suspiria is not forgettable. Nor is it, I hasten to say, much of a horror film, despite being a remake of one.” He suggests that a horror movie isn’t a horror movie unless it has “an element of fun, of dark delight,” and excludes Suspiria because it wasn’t fun nor did he understand the finale. Must be a “thriller,” eh?

Typical for pieces of this sort, the article has no clear point and builds up to nothing; mostly, it’s supported by the writer’s viewing of WinchesterThe Nun and Slender Man, three not-so-great films that offer only a fraction of horror that was put on display this year. Of course, as most horror fans are aware, the good has far outweighed the bad in 2018.

(And even the baddest, it’s worth pointing out, have proven quite successful.)

But I digress. This feels like yet another mainstream hit piece, one that perhaps it’s best to give no attention to at all. But it’s hard not to. After all, this is exactly the kind of bullshit we horror fans constantly have to deal with. You see, when horror is having a down year, they’ll write, “Horror is dead.” When it’s hot, like it has been for the past few years, they quantify it and remove films to fit their narrative. We’re low class to them. There’s no way a horror film could be so good that it deserves awards… right?

You just watch… when Toni Collette gets nominated for an Academy Award for her performance in Hereditary, and Ari Aster gets nominated for “Best Director” and “Best Original Screenplay”, the mainstream media will start the narrative that Hereditary is not a horror movie. Buckle your seatbelts, cause it’s going to happen. Hell, it already has.

Digressing yet again, I don’t understand how one of the biggest magazines on the planet can allow someone to write a horror hit piece having just seen a small handful of horror films?

Outside of the aforementioned Hereditary, A Quiet Place (a monster movie that’s without question a *horror* movie), Revenge and Suspiria (that’s a lot of great horror right there, no?), there have been dozens of phenomenal genre films released in 2018. So much so that I’m having a difficult time narrowing down the best of the year. While you may debate me on the merits of The Predator or this weekend’s Overlord (both extremely fun genre films), I offer you the following counter: Annihilation, Mandy, The Ritual, The Night Comes For Us, One Cut of the Dead, Thoroughbreds, Before I Wake, Ghost Stories, Blue My Mind, What Keeps You Alive, Tumbbad, Lowlife, Possum, Let the Corpses Tan, Terrified, and The Witch In the Window.

I’m sure there’s even more, but let’s not pretend we’re not in the middle of a major horror renaissance. We are. We absolutely are. And true fans of the genre see that clear as day.

Don’t let anyone tell you otherwise.

Liverleaf – Japan, 2018

‘In a snow-covered village, my family was burnt to death’

Liverleaf – original title: Misumisô – is a 2018 Japanese horror feature film directed by Eisuke Naitô from a screenplay by Miako Tadano, based on a manga by Rensuke Oshikiri. The movie stars Anna Yamada, Hiroya Shimizu, Rinka Ôtani


Haruka (Anna Yamada) transfers to a new rural school and is immediately bullied relentlessly. Unfortunately, a fire at her home kills Haruka’s parents and leaves her younger sister severely injured. She suffers an emotional breakdown and begins to take violent and bloody revenge on those responsible…


“One of the best features of this film are its snowy scenes and the way they are shot by cinematographer Hidetoshi Shinomiya. Nozaki’s red coat and white pants make her appear as a ghost floating through the blowing snow and Hidetoshi’s camera often lingers in place to let us watch this wraith move through the scene…” Matt Ward, Asian Movie Pulse

“Plot twists fall flat, but the themes are still retained by the end. It’s just a shame that it turns all its characters into caricatures instead of ones with a little motivation behind their actions beyond being seen by their peers. They die, and the movie moves on, because their deaths mean nothing.” Christopher Cross, Goomba Stomp

” …a shocking and important examination of a genuine problem in Japan and around the world, although one hopes this level of bloodletting is not a regular occurrence. It only really falls down structurally when it has escalated to a point where it has nowhere else to go but more of the same cycle of violence, becoming relentlessly cruel in its form and vision.” Richard Gray, The Reel Bits

“To call the film cartoonish and too hyper-stylized may be seen as a compliment by director Naito. But what I find as a wasted opportunity, though, is foregoing all character nuances (e.g. Rumi’s madness, bully ringleader Taeko’s [Ohtani Rinka] true sentiments about Nozaki) in favor of over-the-top action and revenge movie gore.” Tristan Zinampan, Screen Anarchy

“Unremittingly bleak, Liverleaf makes a bid for pathos in its closing coda as it takes us back to a case of ruined friendships and broken dreams but it can’t overcome the uneasy stylisation of all that’s gone before in swapping emptiness for wistful melancholy.” Hayley Scanlon, Windows on Worlds

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Thriller – USA, 2018

Thriller is a 2018 American horror film produced and directed by Dallas Jackson, making his feature debut, from a screenplay co-written with Ken Rance.

The Divide/Conquer production stars Mykelti Williamson, RZA, Jason Woods, Jessica Allain, Luke Tennie, Tequan Richmond, Paige Hurd, Chelsea Rendon, Mitchell Edwards, Pepi Sonuga, Maestro Harrell and Michael Ocampo.

Compton, California: An introverted young man named Chauncey Page (Jason Woods) is sent to juvenile hall after he accidentally kills a young woman who is part of a group of tormentors that play a cruel prank on him.

Years later, he is released and is back for revenge — and blood — as Chauncey serves up some murderous karma as the group, now in high school, gets ready for Homecoming. Dressed in a hoodie, he picks them off one by one…

Thriller, which is being distributed by Blumhouse, has its world premiere at the Los Angeles Film Festival on September 23, 2018.


The film’s working title was Vengeance.

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Review: ‘Mandy’ Is A Berserk, Genre Busting, Revenge Epic

Where to even begin? Panos Cosmatos, director of 2012’s genre melting Beyond The Black Rainbow is back with another borderline indefinable movie that is another audio-visual feast for the eyes. And he’s brought Nicolas Cage along for the ride, front and center. Mandy is a movie like few others. The story, set in the Californian Shadow Mountains circa […]

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Shudder is Gearing Up for Halloween with New Content Every Week

Horror fans know that when it comes to streaming services, Shudder is a must have. Though it doesn’t host as many films as giants like Netflix and Amazon, it focuses exclusively on horror making it a far superior source for genre aficionados looking for the best of the best.

We’re getting word that Shudder is gearing up for Halloween by bringing fans new content every week leading up to October 31st. The best part is, the festivities kick off today! Check out the full scoop in the press release below.

(September 10, 2018, New York, N.Y.) – Shudder is all you need to get your fill of frights this Halloween season. With a new scary movie premiering every week, the leading premium streaming service for thriller, suspense, and horror kicks off the fun beginning September 10 and running through Halloween.

 “We’re taking Halloween to an unprecedented level this year with a killer lineup of seven original and exclusive films that starts with the breakout movie REVENGE and culminates with the shocking slasher SUMMER OF 84,” said Shudder General Manager Craig Engler.  “We’re also premiering the hit U.K. series True Horror, launching season 3 of Channel Zero and bringing back amazing classics like John Carpenter’s Halloween and a massive Hitchcock collection.”

 The season begins with Shudder’s VENGEANCE IS HERS collection on September 10. Hell hath no fury like a woman scorned, and the femme fatales of these films are no exception. Headlining the collection is REVENGE, a Shudder Original that delivers a razor-sharp feminist subversion of the revenge-thriller, available starting September 13.

 Weekly new releases continue with HELL HOUSE LLC II: THE ABADDON HOTEL on September 20CHANNEL ZERO: NO-END HOUSE on September 27SATAN’S SLAVES and TRUE HORROR on October 4TERRIFIED on October 11WITCH IN THE WINDOW on October 18, and CHANNEL ZERO: BUTCHER’S BLOCK and SUMMER OF 84 on October 25.

Shudder also has a killer classics selection in October with THE HALLOWEEN COLLECTION, available October 1, featuring John Carpenter’s landmark film Halloween plus Halloween 4Halloween 5, and Tobe Hooper’s legendary film The Texas Chainsaw Massacre. The very next day, Shudder delivers a treasure trove of tales from the master of suspense himself. THE ALFRED HITCHCOCK COLLECTION, debuting October 2, includes PsychoVertigoRear WindowThe BirdsThe Man Who Knew Too MuchRope, and Shadow of a Doubt.

 Throughout the Halloween season, engage with @SHUDDER on Facebook, Twitter, Instagram, and YouTube for access to polls, quizzes, contests, and extra programming content.

Look out for Shudder at a number of fan events throughout October. Shudder’s New York Comic Con panel on October 4 features exclusive sneak peeks and discussions with the stars and creative minds behind upcoming premieres. Follow along on social media for live coverage throughout the panels. If you’re looking for a more up-close-and-personal experience, visit Shudder’s booth to encounter the Meat Servant from CHANNEL ZERO: BUTCHER’S BLOCK – preferably before your next meal.

 In Los Angeles, find Shudder’s booth at LA Comic Con from October 26-28 for swag giveaways, and join Shudder every Saturday in October at Street Food Cinema for special screenings.


Do you agree that Shudder is a must-have streaming service for dedicated horror fans? Are you excited about their new weekly content celebrating the Halloween season? Sound off in the comments below or on Facebook, Twitter, and/or Instagram!

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REVENGE – Releases on Digital HD 7th September 2018

REVENGE is released on Digital HD on 7th September from Vertigo Releasing.   Matilda Lutz (Rings) Kevin Janssens (TV series Salamander) Vincent Colombe (Point Blank) Robin Coudert (Composer, Amityville: The Awakening) Coralie Fargeat (Writer/director, Reality+) Synopsis: Wealthy and handsome Richard takes his beautiful young mistress Jen to an isolated luxury condo in the desert, a …

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