I enjoyed the new Candyman film; it’s not a love for me, but I definitely like it quite a bit. Nia DaCosta's direction and co-writing aims to emulate Wes Craven's New Nightmare within this series, and when it achieves that, it really succeeds — particularly concerning the monster himself, who feels more frightening and threatening than ever before (Tony Todd, the original actor from 1992, makes a brief appearance that goes beyond just pleasing fans). Considering 1992 was the year of the first film's release, DaCosta, who was only three at the time, couldn’t have made this happen without the crucial support of co-writers Jordan Peele and Win Rosenfeld. They clearly understand the source material and handle it with a similar level of respect that likely inspired them when they first discovered it as teenagers. The creative team even manages to get the humor right, which isn't something many horror movies can claim. The original Candyman "was a horror movie that scared with ideas and blood, instead of just blood" (Ebert), and this new installment maintains that quality by building an unsettling atmosphere using tangible special effects rather than computer-generated imagery. For instance, mirrors serve as Candyman's gateway into our reality, and the film maximizes every reflective surface—like when Anthony McCoy (played by Yahya Abdul-Mateen II) finds himself in an elevator that functions like a hall of mirrors. The current story blends well with elements from the past (another clever detail is using Virginia Madsen’s voice for recordings made by her character in the original film), but there's some worry about what lies ahead. This isn’t a remake or reboot, though there is a sense of passing on the legacy—or, more accurately, the hook—which I suspect is setting up future installments. My hope is that DaCosta, Peele, and Rosenfeld truly value Candyman as much as I believe they do, and that after restoring his stature, they let him depart with it preserved.

Source on TMDB