Universal/MGM/Monkeypaw’s Candyman, which is a direct sequel to the 1992 original starring Tony Todd got off to a great late August start with $22.4M in it's opening weekend.
The R-rated slasher film, written by Jordan Peele and directed by “Captain Marvel 2” filmmaker Nia DaCosta, surpassed industry expectations despite fears the delta variant would keep people from going to the movies.
“Candyman” cost $25 million to produce — MGM financed and produced the film, while Universal handled marketing and distribution — and appears on track to become one of the rare pandemic-era releases to become profitable during its theatrical run.
“Nia DaCosta crafted an intense thriller that audiences responded to extraordinarily well this weekend. The debut of Candyman exceeded all industry expectations, and with the very positive audience reaction scores and a three-day holiday in our second weekend, we’re anticipating a strong theatrical run at the domestic box office,” exclaimed Universal’s Domestic Theatrical Distribution President Jim Orr.
Candyman stars Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, and Colman Domingo.
NEW YORK, NY – JANUARY 7, 2019 – Shudder, AMC Networks’ premium streaming service for horror, thriller, and the supernatural, today announced the upcoming premiere of its first original documentary feature, Horror Noire: A History of Black Horror. Based on the acclaimed book of the same name by Dr. Robin R. Means Coleman, Horror Noire takes a critical look at a century of genre films that by turns utilized, caricatured, exploited, sidelined, and embraced both black filmmakers and black audiences.
The film features in-depth interviews with noted directors, writers, and actors, including Ernest Dickerson (Bones), Rusty Cundieff (Tales from the Hood), Jordan Peele (Us), Tina Mabry (Mississippi Damned), Tony Todd (Candyman), Paula Jai Parker (Tales from the Hood), Tananarive Due (My Soul to Keep), and Dr. Robin R. Means Coleman. Horror Noire will premiere exclusively on Shudder on Thursday, February 7, after special screening events in New York and Los Angeles earlier in the month.
“After I saw Oscar winner Jordan Peele’s Get Out, I created a UCLA class around Black Horror called The Sunken Place,” said executive producer Tananarive Due. “The text I recommended was Dr. Robin R. Means Coleman’s Horror Noire: Blacks in American Horror Films from the 1890s to the Present. So I was so thrilled to help bring this story to life on the screen. Horror Noire is about the history of black horror films, but it’s also a testament to the power of representation and how horror is such a visceral way to fight racial trauma: our real pain and fear, but from a safer distance – while we get stronger.”
“The horror genre is daring, unflinching pedagogy. It is like a syllabus of our social, political, and racial world,” said executive producer Dr. Robin R. Means Coleman. “The horror film is fascinating if for no other reason than that it prides itself on snuggling up next to the taboo, while confounding our sense of good and evil, the monstrous and divine, and the sacred and profane. It is one of the most intrepid of entertainment forms in its scrutiny of our humanity and our foibles. It is my sincere hope that Horror Noire will spark fierce debate and trigger even more exacting, nuanced explorations into the power of horror.”
Beginning with the silent film era, Horror Noire explores the often overlooked and downplayed history of Black Americans in Hollywood: the emergence of black leading men in genre cinema in the late ‘60s with Night of the Living Dead and into the ‘70s with Blacula and films of the blaxploitation era; Candyman and the growing popularity of urban horror in the 1990s; up to the genre’s recent resurgence with movies like the Oscar-winning, critical and commercial hit Get Out.
“There are messages of humanity and survival that Black storytellers and performers have been expressing in horror since the genre’s beginning,” said Ashlee Blackwell, a producer and co-writer of Horror Noire as well as the founder and managing editor of Graveyard Shift Sisters, a website dedicated to the topic of Black women in horror. “It’s been an exciting journey to work with a team to bring this once hidden history to life and out of the shadows.”
Horror Noire is adapted from Dr. Robin R. Means Coleman’s landmark influential 2011 book, Horror Noire: Blacks in American Horror Films from the 1890s to Present, a comprehensive chronological survey of the genre. Both book and film provide a unique social history of blacks in America as seen through their changing images in horror films.
Horror Noire features interviews with filmmakers and scholars, showcasing a who’s who of black horror cinema, from those who survived the genre’s past trends to those shaping its future.
Ernest Dickerson Director, Bones, Tales from the Crypt: Demon Knight
Jordan Peele Writer/ Director, Get Out, Us
Keith David Actor, The Thing
Kelly Jo Minter Actor, The People Under the Stairs
Ken Foree Actor, Dawn of the Dead
Ken Sagoes Actor, A Nightmare on Elm Street 3: Dream Warriors
Loretta Devine Actor, Urban Legend
Mark H. Harris Creator, BlackHorrorMovies.com
Meosha Bean Filmmaker
Miguel A. Nuñez Actor, Friday the 13th: A New Beginning
Monica Suriyage Filmmaker
Paula Jai Parker Actor, Tales from the Hood
Rachel True Actor, The Craft
Richard Lawson Actor, Scream Blacula Scream
Robin R. Means Coleman, PhD Author/ Educator
Rusty Cundieff Co-Writer/ Director, Tales from the Hood
Tananarive Due Author/ Educator
Tina Mabry Writer/ Director, Mississippi Damned
Tony Todd Actor, Candyman
William Crain Director, Blacula
Horror Noire is directed by Xavier Burgin, executive produced by Dr. Robin R. Means Coleman, Tananarive Due, Fangoria Editor-in-Chief Phil Nobile Jr and Kelly Ryan of Stage 3 Productions, and is produced and co-written by Ashlee Blackwell and Danielle Burrows.
“Horror Noire is an important and timely documentary that explores an overlooked part of the horror genre that’s only just beginning to get the attention it deserves,” said Shudder’s general manager, Craig Engler. “We’re honored and thrilled to help bring this project to life and share it with the world.”
Ahead of its Shudder debut on February 7, Horror Noire will have its world premiere Friday, February 1, in collaboration with Beyond Fest and the American Cinematheque at the Egyptian Theater in Hollywood, CA, headlining two days of screenings with special guests in celebration of black horror. More information and tickets will be available soon at americancinemathequecalendar.com.
Then on Monday, February 4, Horror Noire will have its east coast premiere at the Brooklyn Academy of Music, followed by a panel conversation featuring executive producer Tananarive Due, writer/producer Ashlee Blackwell, filmmaker R. Shanea Williams, and comics writer Greg Anderson Elysee. The film will screen on a double bill with Rusty Cundieff’s 1995 classic, Tales from the Hood. Tickets for this special event will be on sale Monday, January 7 at BAM.org.
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Set in present day along the iconic Northern California coastline, Us, from Monkeypaw Productions, stars Oscar® winner Lupita Nyong’o as Adelaide Wilson, a woman returning to her beachside childhood home with her husband, Gabe (Black Panther’s Winston Duke), and their two children (Shahadi Wright Joseph, Evan Alex) for an idyllic summer getaway.
Haunted by an unexplainable and unresolved trauma from her past and compounded by a string of eerie coincidences, Adelaide feels her paranoia elevate to high-alert as she grows increasingly certain that something bad is going to befall her family.
After spending a tense beach day with their friends, the Tylers (Emmy winner Elisabeth Moss, Tim Heidecker, Cali Sheldon, Noelle Sheldon), Adelaide and her family return to their vacation home. When darkness falls, the Wilsons discover the silhouette of four figures holding hands as they stand in the driveway. Us pits an endearing American family against a terrifying and uncanny opponent: doppelgängers of themselves.
The decision by Jordan Peele, Blumhouse and Universal to submit their film Get Out in the Best Motion Picture – Musical or Comedy category at the Golden Globes this year has created many questions from his fanbase. Here, Peele explains why the decision was made:
The most rewarding part of making “Get Out” is the conversations the film has inspired.
When I originally heard the idea of placing it in the comedy category it didn’t register to me as an issue. I missed it. There’s no category for social thriller. So what? I moved on.
I made this movie for the loyal black horror fans who have been underrepresented for years. When people began standing up for my voice, it meant a lot. “Get Out” doesn’t just belong to me any more, now it belongs to everyone.
The reason for the visceral response to this movie being called a comedy is that we are still living in a time in which African American cries for justice aren’t being taken seriously. It’s important to acknowledge that though there are funny moments, the systemic racism that the movie is about is very real. More than anything, it shows me that film can be a force for change. At the end of the day, call “Get Out” horror, comedy, drama, action or documentary, I don’t care. Whatever you call it, just know it’s our truth.
The Jordan Peele directed movie Get Out which is an allegory of African-American strengths being siphoned for the benefit of white people, disguised as a run-of-the-mill horror flick crossed over into blockbuster status this weekend. The movie which cost $4.5 million to make has now grossed over $111 million at the box office. No matter what happens from here on out it will be most of the most profitable movies of the year.
Universal and Blumhouse's Get Out finished third this weekend, once again outperforming expectations as it dropped just 25.4% for an estimated $21 million for a domestic cume that now stands at $111 million. Coming up with comparisons for Jordan Peele's breakout thriller is near-impossible as its week-over-week performance is mind-blowing as it is already Blumhouse Productions' second highest grossing release of all-time and showing absolutely no signs of stopping. And it can't be said often enough, the film's budget was a mere $4.5 million.
