The not-so-甘い slasher is 支援する after almost 30 years... with vengeance on his mind: KATE MUIR reviews Candyman

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Candyman (15)

判決: Slasher returns with a smart 新たな展開

率ing:

Our Ladies (15)

判決: Scottish schoolgirls' revelatory rampage

率ing:

Candyman is 法案d as the 'spiritual sequel' to the classic 1992 horror-slasher, but it's better than that. It takes the hook-手渡すd serial 殺し屋 and makes his story resonate powerfully in 現在の-day America ― 同様に as 供給するing a 非難する-up serving of 血の塊／突き刺す.

You may remember the 都市の myth: say 'Candyman' five times to your reflection in the mirror and his ghostly presence will appear . . . and soon after, he'll slit your throat. What's astonishing is the number of people who think it just won't happen to them.

Anthony McCoy (Yahya Abdul-Mateen) is one of those overconfident folk, a painter who has moved into a 冷静な／正味の loft with his girlfriend Brianna (Teyonah Parris) and is looking for inspiration.

麻薬中毒の on the past: Anthony McCoy (Yahya Abdul-Mateen, pictured).?A friend tells Anthony about Candyman's story ― cleverly re-制定するd using 影をつくる／尾行する puppets ― which connects 支援する to the death of a white student and the 救助（する） of a 黒人／ボイコット baby, the 核心 of the 初めの movie

Artists are the first wave of gentrification in an area around Cabrini Green, 以前は one of Chicago's most 奪うd social 住宅 広い地所s. A 一連の gruesome 殺人s afflicted the area for years. But were the community せいにするing the daily horrors of their life to a mythical bogeyman? Or was Candyman real?

A friend tells Anthony about Candyman's story ― cleverly re-制定するd using 影をつくる／尾行する puppets ― which connects 支援する to the death of a white student and the 救助（する） of a 黒人／ボイコット baby, the 核心 of the 初めの movie.

Candyman is 法案d as the 'spiritual sequel' to the classic 1992 horror-slasher, but it's better than that

The artist starts 調査／捜査するing and 明らかにするs a grim 遺産／遺物 of anti-黒人／ボイコット 暴力／激しさ that goes from police 殺人，大当りs all the way 支援する to a 19th-century lynching.

復讐 is best s erved 冷淡な, again and again, 負かす／撃墜する the years. This is the fourth time Candyman ― the monster who 恐らく put かみそり blades in children's Halloween 甘いs ― has been played by Tony Todd, in a decrepit fur-collared coat, surrounded by a 脅迫的な 群れている of bees.

But this new film is directed by Nia DaCosta and co-written by her and Jordan Peele, the 操る behind the horrors Get Out and Us. Her 見通し is powerful, satirical and smart, and the real-life skanky 広い地所s are in many ways as gruesome as the 殺人，大当りs.

現実に, the 削除するing was messy but it was the 巨大（な） scab?選ぶing scene that finally had me 飛び込み behind the cinema seat, still terrified that someone was going to say 'Candyman, Candyman, Candyman, Candyman, Candy . . . '

Better stop there.

Our Ladies finds a coachload of Scottish カトリック教徒 schoolgirls on the rampage in Edinburgh, while they are 恐らく visiting the city to sing angelically in a choir 競争.?

Their devilry knows no bounds and makes for a いつかs hilarious and revelatory trip. The year is 1996 and the girls are in their final year at Our Ladies of Perpetual Succour school in Fort William ― and wildly 失望させるd. Their 単独の delight seems to be an underage trip to the town's one and only nightclub, The Mantrap, which lives up to its 指名する.

Standing stoutly in the way of such sin is Sister Condron (a 乾燥した，日照りの and wry Kate Dickie), known to her pupils as Sister Condom.

But the girls are unstoppable in their 追跡 of 楽しみ and cheap drink. Blasphemy is a way of life. Orla, a schoolgirl who is in remission from leukaemia, prays to the image of Jesus above her mirror as she tarts up in the morning: 'As usual, a 少しの shag would be very welcome. I don't want to die a virgin like your mother.'

Each girl's backstory is 明らかにする／漏らすd over the course of their long day and night, and each of them is changed by the experience.

Our Ladies finds a coachload of Scottish カトリック教徒 schoolgirls on the rampage in Edinburgh, while they are 恐らく visiting the city to sing angelically in a choir 競争

Finnoula, the smart leader of the 乗組員, takes inspiration from Mean Girls as she icily 除外するs 部外者s like Kay, the seemingly prissy 長，率いる girl, while Kylah sings in a 禁止（する）d ― and sleeps with most of them, too.

一方／合間, Chell's only ambition seems to be to 捕らえる、獲得する a man, a baby and a 会議 house.

The story is based on The Sopranos, the much more sophisticated 1998 satirical novel by Alan Warner, which also became a successful musical.

But the 構成要素 作品 いっそう少なく 効果的に on the cinema 審査する, perhaps because the somewhat clunky 対話 was written by Alan Warner and Michael Caton-Jones the director, and they just don't やめる understand how teenage girls think and talk. There is something too voyeuristic in the 空気／公表する.

That said, the schoolgirls are as 堅い and gobby as they come, putting men (特に policemen) in their place everywhere they go.

Once they change out of their school uniform kilts into nightclub attire, crucifixes bouncing, 巡航するing 負かす／撃墜する the steps of the Old Town, you sense their joy ― and the trouble to come. All roads, 特に the A82 south from Fort William, lead to sex.

Lonely bus man's holiday is just the ticket...

The Last Bus (12A)

A 涙／ほころび-jerking 長期冒険旅行

率ing:

The Pebble And The Boy (U)

Mod 演劇 doesn't 激しく揺する

率ing:

Two mysterious 旅行s into past lives are out this week, the most moving 存在 The Last Bus, which showcases the rich 事実上の／代理 talent of Timothy Spall as Tom, a pensioner who decides to make one last trip from John O'Groats to Land's End ― all on 地元の buses.

The film begins in Land's End in 1952 as the young, newly married Tom leaves his life in Cornwall. His wife Mary says: 'Take me away from this place . . . as far as we can go.'

明確に there has been some 悲劇. But the couple settle in John O'Groats and we see their contented 退職, with Mary (Phyllis Logan) tending her neat vegetable patch.

Next, it seems that Tom is planning a 旅行 (on his 解放する／自由な bus pass). Using a 地図／計画する, a pencil and a notebook ― he has no トラックで運ぶ with 動きやすい phones ― he 時刻表／予定表s a 大勝する 負かす／撃墜する the length of the UK. He looks like an 古代の 海がめ, his wrinkled 長，率いる popping out over his tweed jacket, his lip stuck out in 決意.

Two mysterious 旅行s into past lives are out this week, the most moving 存在 The Last Bus, which showcases the rich 事実上の／代理 talent of Timothy Spall as Tom, a pensioner who decides to make one last trip from John O'Groats to Land's End ― all on 地元の buses

Tom's 旅行 grows on you, and you can pretty much guess what is in the old leather スーツケース he 抱擁するs の近くに to his chest. Each 地元の 二塁打-decker or coach brings a different person into his life: a laird who needs help 押し進めるing his Land Rover; a イスラム教徒 woman and her child 存在 悩ますd; a Scottish couple who take him home when he is 負傷させるd.

These 遭遇（する）s build a picture of his character, resilience, 原則s ― and also the glorious love of his 青年.

What we realise, but Tom doesn't, is that his trip has gone viral. #BusHero is the hashtag for his community of 支持者s.

The Pebble And The Boy takes a 類似の 主題 as college boy John (Patrick McNamee) 長，率いるs from Manchester to Brighton with his dad's ashes, on a souped-up Lambretta.

John's dad was a Mod, and John puts on his old parka and helmet and rides off with co-conspirator Nicki (Sacha Parkinson). There's mod and rocker 活動／戦闘, 加える a soundtrack from The Jam and The Style 会議. But さもなければ the film is 歩行者, にもかかわらず a cameo by Patsy Kensit. It will never be Quadrophenia.

There's mod and rocker 活動／戦闘, 加える a soundtrack from The Jam and The Style 会議

十分な nest but 陰謀（を企てる） is empty

The Nest (15)

判決: Predictable 結婚の／夫婦の mess

率ing:

On paper, The Nest looks 約束ing: Jude 法律 plays a charming, careerist City 仲買人 in the 1980s, who brings his American wife home to live the grand life in a creepy Surrey manor house.?

明白に, you think, the English dream will somehow become a nightmare. But it just becomes a bore.

法律's character, Rory O'Hara, is a fantasist and big spender ― more a 溺死するing ネズミ outside London's 王室の 交流 than a Wolf of 塀で囲む Street.?

On paper, The Nest looks 約束ing: Jude 法律 plays a charming, careerist City 仲買人 in the 1980s, who brings his American wife home to live the grand life in a creepy Surrey manor house

His wife Allison (a strong 業績／成果 by Carrie Coon) is a riding teacher, and their 期待s of the marriage grow その上の apart.

Their children hate 存在 移植（する）d to the gothic manor and 行為／法令／行動する up, while Allison slowly realises (long after the audience) that Rory is an unreliable chap.

This is a misfire by director Sean Durkin (Martha Marcy May Marlene) and it's very hard to care about the 運命／宿命 of any of the characters ― even the dead horse that pops up unpleasantly in a field.