Jon Towlson considers how Candyman might be read both as a "return of the repressed" and as an example of nineties neoconservative horror. He traces the film's

“Starts fast and never stops moving. Clever, complex, and original!”—Phillip Margolin THE SURVIVORS CLUB . . . that’s what Jillian Hayes, Carol Rosen, a

There's a new candy shop in town and it's all the rage. In fact, you could say that children are dying to get in. The problem is, they don't always come out. It