I count myself as one of the superfans of horror auteur Jordan Peele, so I'm superexcited to see his remake of Candyman, a 1992 cult-favorite about an urban legend that turns out not to be a legend. Peele produced and co-wrote the screenplay, and it comes out June 12, 2020.

From the synopsis:

For as long as residents can remember, the housing projects of Chicago’s Cabrini Green neighborhood were terrorized by a word-of-mouth ghost story about a supernatural killer with a hook for a hand, easily summoned by those daring to repeat his name five times into a mirror. In present day, a decade after the last of the Cabrini towers were torn down, visual artist Anthony McCoy (Yahya Abdul-Mateen II; HBO’s Watchmen, Us) and his girlfriend, gallery director Brianna Cartwright (Teyonah Parris; If Beale Street Could Talk, The Photograph), move into a luxury loft condo in Cabrini, now gentrified beyond recognition and inhabited by upwardly mobile millennials.

With Anthony’s painting career on the brink of stalling, a chance encounter with a Cabrini Green old-timer (Colman Domingo; HBO’s Euphoria, Assassination Nation) exposes Anthony to the tragically horrific nature of the true story behind Candyman. Anxious to maintain his status in the Chicago art world, Anthony begins to explore these macabre details in his studio as fresh grist for paintings, unknowingly opening a door to a complex past that unravels his own sanity and unleashes a terrifyingly viral wave of violence that puts him on a collision course with destiny.

BFI, the British film organization, has posted a list of ten "acid westerns."

The term ‘acid western’ is an elusive one. First coined by Pauline Kael in her New Yorker review of Alejandro Jodorowsky’s El Topo (1970), it wasn’t until 2000 and the publication of his monograph on Jim Jarmusch’s Dead Man (1995) for the BFI Modern Classics series that critic Jonathan Rosenbaum would expand upon the terminology more specifically.

“What I partly mean by acid westerns,” wrote Rosenbaum, “are revisionist westerns in which American history is reinterpreted to make room for peyote visions and related hallucinogenic experiences, LSD trips in particular.” He distinguishes these from the “less radical… upheaval of generic norms” that colour “the influence of marijuana on the drifting, nonlinear aspects of the style of McCabe and Mrs Miller (1971),” setting the ‘acid western’ apart from what he calls the ‘pot western'.

I guess it's really a "you know it when you see it" kind of deal. Read the rest

Director Nicolas Winding Refn loves cult movies and has been quietly restoring some of his faves. Now they are available to stream free on his byNWR site. Read the rest