Jeffrey Owen

Sheer directorial talent is the only thing that keeps this movie alive. I respect even attempting to make something as ridiculous as this….but damn. The plot is so outrageous that it can’t keep itself afloat with various randomized direction and exposition that leads to absolutely nowhere. You’ll be scratching your head the entire time, asking for answers that you’ll never really get. And I know…this sounds interesting and might make you want to watch it….but trust me when I say as Billy Madison puts it “Everyone is now stupider for having watched this film.” And you’ll feel the same. The only case I can think of where you should, is when you expect sheer random BS for humor sake. Anyone in these reviews saying this is a masterpiece or amazing should be put on a list and never be allowed to write a review again lol.

Solid movie. Only issue I have is that his descent into corruption could be more translatable and readable on screen. Essentially he’s too “good” for most of the movie and you don’t get a strong enough sense of the evil man he’s destined to become. He didn’t really feel like the deplorable Snow we know from the original series. And he doesn’t have to be. But at least give us a better sense of how he becomes that way. Only very briefly do we ever get that sense. Even when he’s doing things that are wrong or morally questionable, theres too much of a sense of heroism and goodness behind him. Where’s the truly evil President Snow? I didn’t really see him.

What begins as a unique, adventurous story of a Djinns journey through time told in a mythological cadence, the story eventually veers off-course into directionless chaos - although visual and conceptual stimulation helps soften the blow. Storytelling is the heart’s attempt of the film, but too many creative stories, clashing concepts, and unfulfilling romances muddle any meaningful core message to be received by the audience.

There can only be so much objective, unemotional badassery before you start yearning to be relieved by a more meaningful relationship. Movie is dark and gray and is enjoyable if you have a more nihilistic viewpoint on the world.

Begins strong with excellent directing and youthful chaos, with the only semblance of order being maintained through fear and survival. This formula widens itself to an array of possibilities with relationships and outcomes that maintain your interest. However, instead of narrowing itself into a climactic resolution of any kind, it instead continues to rely on this chaos, widening the plot even further. By the end, it just does not give the viewer any sort of satisfaction that they were looking for since the beginning.

The bought out liberal reviewers are of course going to hate on this movie. But leftist preach fests openly demeaning conservatives like Don’t Look Up are hailed as quality. Check your bias at the door there’s a reason there’s a 96 percent audience score. It’s bc there’s more of us normal people that understand basic logic out there than they try show.

The film’s so intent on reaching for artistic value, that it forgets the story it’s even telling. All this is, is a plane of morbid confusion that never lands anywhere - and is content on crash landing into dark subject matter as it pleases, with no real explanation as to why.

One of the most horribly racist, white-hating extravaganzas I've ever seen. How is this tolerated today? Change the skin colors and this becomes unapologetic, direct racism, but leave it how it is and somehow it's justifiable? Even people of color should be outraged about this bias and hatred. Continuous, relentless leftist racism and bigotry guised as a horror film presenting ambiguous (though they're utterly unambiguous) attempts at touching on racial political issues. The horror and suspense is secondary to the blatantly obvious undertone of the fueling of racial division between white people and black people, as all of Jordan Peele's films are centered around. The only reason I'm giving this film one star is that photography, sound editing, and topics of a more objective, mechanical nature have merit. Every major film directed by Jordan Peele is somehow associated with his skin color, and he's not shy about it. Candyman doesn't even recognize the true history of the ghetto it's centered around. What it makes you think is that people like him and Nia DaCosta care so deeply about skin color, that they've unknowingly become the racists themselves in their undying quest to scream as loudly and belligerently as they can about the problems and history associated with racism, yet remain silent on the solutions.