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Jamie Renée Smith,
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After surviving the incidents in Barrow, Alaska, Stella Olemaun relocates to Los Angeles, where she intentionally attracts the attention of the local vampire population in order to avenge the death of her husband, Eben.
The Candyman returns to try to convince his female descendent, an artist, to join him as a legendary figure. To this end, he frames her for a series of hideous murders of her friends and associates so that she has nowhere else to turn to. Written by
For some reason, the third part of a trilogy always disappoints me, if only slightly. And that's just what Candyman 3: Day of the Dead does: slightly, not heavily, disappoints.
It seems that Caroline (the now-grown-up daughter of Annie from the second film) is on her in LA. She owns Daniel Robetaille's (the Candyman) paintings which she has chosen to show at the gallery of an aspiring artist.
Tempted by her friends, she says the Candyman's name five times because she feels she'll be doing him justice by proving his supposed non-existence. Although nothing happens while she is at the gallery opening, her life later begins to unravel as she finds the vengeful spirit slaughtering everyone around her (he killed her mother years before), with only Caroline appearing to be suspect.
Co-produced by Tony Todd, this somewhat hokey (and hopefully FINAL) entry to the Candyman films is not that bad. Although I consider anything to outwit its bland and tepid predecessor, this is not much better with acting (Donna D'Errico's Caroline is a shrieking wimp at best), and our heroine seems to exist only to scream, fill out a tank top, and see her friends slaughtered in extremely gory fashion.
The Latin "Day of the Dead" festival has almost no relevance in this film, as its concept is only used in one scene I can think of, but then again, it wouldn't have been wise to just call this entry "Candyman 3" and leave it at that. Let's hope after this fairly decent entry that film makers will do what they should...leave it at that.
Rating: **1/2 out of ****
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