Candyman

The shadow-puppet sequences are the best thing in it, and it is a sequel that is actually about the original rather than repeating it.

An artist in a gentrified Cabrini-Green moves into a luxury development built on the site and starts making work about the legend.

Nia DaCosta stages the killings almost entirely in reflections, at a distance, in the background of frames that appear to be about something else, which is a real formal idea and it works.

The paper-cut animation used for the historical inserts is beautiful and does the exposition without a single flashback.

The film is more interested in gentrification and in who gets to tell a story than in scares, and whether that is a strength depends on what you came for.

The mirror in the lift is the best sequence. The ending explains itself too much.