Candyman: Day of the Dead is dead on arrival. Any amount of dignity the franchise had is long gone in this direct-to-video third installment. Although it’s a direct follow up to Farewell to the Flesh, Candyman’s origin is reshot to be at night instead of day. Now Candyman’s legend springs up around Day of the Dead instead of Mardi Gras and takes place in Los Angeles for no good reason. There’s way more emphasis on Mexican culture instead of black culture. The final girl is of course the third blonde in a row.
Since the movie takes place in the distant future of 2020, Annie’s daughter has grown into Donna D’Errico. Despite the almost constant nudity, the former Playboy playmate never gets fully naked. Her acting is unsurprisingly terrible just like everyone else in the movie. Not even Tony Todd can save it. Caroline once again makes the brainless decision to invoke Candyman and has to deal with the bloody aftermath. There’s also a racist cop that she has to deal with.
Just as annoying are Caroline’s constant nightmares that remind me this is a late 90’s movie. Dead of the Dead is now your run of the mill gorefest. Bees continue to ravage people and his hook is always in use. It was already icky before, but Candyman continues to seduce one of his descendants. Only this time it’s his paintings that kill him instead of a mirror. Even though they once again go for a cheap fake out. There was supposed to be a fourth Candyman set in New England, but Candyman: Day of the Dead practically killed the legend.
Preceded by: Candyman: Farewell to the Flesh