Candy Land

Remember the 1970s? That would be helpful. Bottom line, Candy Land is what might happen if you took a Ninja blender and mixed together a 1970s sexploitation film and a 1970s slasher film. By that standard, the end result would be better than you might expect. The acting is solid, the script adequate, and the direction restrained. The typical over-amped soundtrack of the 1970s films -- where gaps in the action are filled in with raw noise -- is nowhere to be found, and that is a very good thing. In fact, almost every aspect of this film is toned down, and that works well too. The only recognizable star is William "Billy" Baldwin, who has been in the biz since the late 1980s. Above average for an indie. ((Designated "IMDb Top Reviewer." Please check out my list "167+ Nearly-Perfect Movies (with the occasional Anime or TV miniseries) you can/should see again and again (1932 to the present))

This is one of the earlier releases into 2023 that I heard about. I'm guessing it did its festival run last year. Other than that, I knew this was a slasher and voices in the horror community were positive about it. I decided to rent this one since there wasn't a new release at my theater in genre for a Featured Review on Journey with a Cinephile: A Horror Movie Podcast. I've also given it a second watch to see where I stood as well for my end of year.

Synopsis: a seemingly naïve and devout young woman finds her way in the underground world of truck stop sex workers a.k.a. 'lot lizards'.

That is a solid recap without spoiling. The title of the movie is a nick name for this specific truck stop where everything is happening. We follow a group of prostitutes that work it. There is Sadie (Sam Quartin). She works there with Liv (Virginia Rand). They are also dating. We also have Riley (Eden Brolin) and Levi (Owen Campbell). Their madame is Nora (Guinevere Turner). She allows them to stay in a nearby motel. There is a variety of ways they turn tricks, which gives us the rundown.

Outside of truckers, there are also others that frequent this stop. Sheriff Rex (William Baldwin) protects them in a way. He also frequents Levi's services. There is a religious sect that goes there as well. They are led by Theo (Brad Carter). He is a religious preacher who tries to give our group fliers about repenting. Liv makes a lewd comment and flashes him. He is there in a van of followers, including Remy (Olivia Luccardi) and her brother Jonah (Laevin Story).

To go back to the synopsis, the naïve and devout young woman is Remy. She is taken in by Sadie and the others of this group after being ostracized from hers. Nora even helps her. They explain the ropes to her and since she doesn't have a plan, if she wants to stay here, then she needs to earn her keep. Things aren't as they seem and she might not be as meek as they believe. A man is murdered in a stall and that is just the start. It seems that a john might have done the slaying, but there is also this religious group as well.

That is where I'm going to leave my recap and introduction to the characters. I decided to go a bit brief on my recap and try to spoil this. Something that I realize I didn't share is that this takes place in 1996. It doesn't necessarily feel like it though. They aren't in your face about it and I believe the reason to set this when they did correlates to how close timewise to something in the end. This mimics a real event. This is its own story, but what we see is similar.

Now that taken care of, I rather enjoyed what this movie was doing. This takes care about the details of what it takes to be a truck stop sex worker. In doing this, we see how close this group is. It almost feels like a family. They hang out and they take care of each other. Something else I picked up on is that many of these people don't have any other prospects in life. It is demeaning, but the money is good. They've accepted who they are. It is also scary. What bothers me is that if we just legalized sex work across the United States, we wouldn't situations like we get in this one. They also wouldn't have to fear for their lives either.

Where I'll then shift is this religious group. I'm going to go ahead and call them a cult. They are strict in their beliefs. I do feel bad for Theo. He tries to pass fliers to the girls and Liv is vulgar in her response. I'm not religious and I don't like people pushing their beliefs on me. She goes too far though. I like to think that this shows the dangers of both sides. A negative toward the religious group is that they kick Remy out of the group. We don't fully know the reason. She falls in with this clique and it makes you think one thing. It might be another though and I like how this develops to the resolution. How they manage religious fanatism here is well-done. It isn't in your face, but it is behind the scenes.

I should then get into what sub-genre this falls into. It becomes a slasher. Fairly early we get this man found dead in the bathroom. There is then a scene not too long after where a john is killed. Soon after, Levi is attacked by another. He fights back. It is here that I was wondering if we were going to see these workers at the truck stop taking these customers out. That isn't necessarily the case. I'm not going to go farther than that, but I like where they go. It kept me interested as I'm piecing things together and then just settling in for the ride.

Since this is a slasher, what makes these work for me are two important things. The best slashers for me have either good kills or good characters. This did have both and that pleasantly surprised me. The first is likeable characters. It makes me care about our crew. Quartin, Brolin, Campbell and Rand are good. The best performance though is Luccardi. When she first arrives, she is meek and timid. I like the grow we see in her character. I wasn't expecting it, but I'm also not shocked either. Things come together there. I also thought that Baldwin, Turner and Carter were good. The rest of the cast rounded this out for what was needed.

All that is left is filmmaking. I think this is well done. I'll start with the other thing that makes an effective slasher which is kills. There is a cool weapon here which is a knife that this hidden inside of an item that a character clutches and it looks innocuous. We don't get a lot of variety with the kills, but that doesn't hurt the movie. The blood was good and it looked practical. I'm a fan there. This ramps up as things go on. I'll give credit as well to the cinematography for how things are framed. That helps the effects. It also has a gritty look to it which fits the setting. We don't get beat over the head with the period used. That helps prevent it from feeling dated as well. Other than that, the soundtrack fit what was needed.

In conclusion, I'm glad that I didn't sleep on this movie for my end of year. This is a solid slasher film that has more under the surface. I like the group of characters we follow. They're a bit crass and vulgar, but they feel real. I care what happens to them. There is good commentary hidden under the surface or you can just watch this a slasher. This was well-made from the effects to the cinematography. I don't know if I can recommend this to everyone due to the images we see. If you like slashers, then I'd say to give this a watch.

My Rating: 8 out of 10.

A truck-stop hooker thinks twice when a cult turns up to save her soul, but her fate may be sealed when one of the cult decides to go on the game with her.

People say this harks back to '70s exploitation movies - and it does, but in two ways: one good, one bad. The good comes in the open and frank sleaze of the prostitution biz, with completely candid performances showing us how it works, what it does to people, and I guess above all how the workers retain their kindness and empathy. These characters are very nicely put together, and I was totally engaged by them for the first half of the story.

It helps that the cinematography and the writing and editing keep the scenes on point, with a good flow. As well as the acting, maybe the best quality of the production is the sound design, with a subtle shriek when a pair of eyes are opened and a faint heart-patter during a virgin's first time.

The bad comes in the second half, when we enter straight up slasher mode. That genre rarely appeals to me, so I can't be too hard, but there really is nothing of interest to say as all the character-building is thrown away in favour of a lurid and unenlightening mania. Also, there's no real jeopardy for the villain since nobody entertains any suspicion, making the plausibility break down as the climax approaches. And then, as in all metaller productions of horror, the music has to go tongue-in-cheek, combining Christmas carols with scenes of bleak death. No idea why they always pull the rug out from under interesting stories.

The one movie this reminds me of is from the '70s - Alice, Sweet Alice, which has the same shape of a disturbing, engaging start and a lurid, pointless end.

Overall: Good story finished off by typing into ChatGPT: 'write the ending of a religious slasher.'

Candy Land is another good example that it doesn't take a lot of different sets or a huge budget to create a visually appealing work - what a nice cinematography, but even better, what an incredible editing! - that, at the same time, fulfills its goals of entertaining with quality.

All this could seem like a kind of sexploitation. That's what the beginning of the first act implies. Calm down. Let those who already had stones to throw calm down. Let those who thought they were going to watch a porno also calm down. The first 15 minutes show more explicit nudity than what we're used to in North American cinema (which, truth be told, is very limited), but that's pretty much the end of it. Better yet, these women are true characters, all of them are very well built and are dignified by a story that doesn't just want to show their tits nor wants them to be seen only with pity. They do what they have to do, things are going relatively well and they form a real team with moments of real camaraderie that are very well-built. There's also a man in the same circumstances, but Candy Land's greatest triumph is that it's always interesting in the way it tells its story and explores gray areas.

Even when it commits excesses - such slaughter in such a short space of time makes us have to question our credulity in the story - it continues to be a work with something to say and very well constructed. It is in its excesses that it also has many of its virtues, but it is in its simplicity that its characters conquer us. It tells us a lot about prejudice, religious fanaticism, and friendship, without forgetting to entertain us and give us a real bloodbath.

Opening scene: 10/10. Newb producer, writer and director John Swab sure knows how to capture and maintain the audiences attention. This is Swab's only sixth filmmaking credit, and although not perfect, there is not one dull moment throughout the film's comfortable 93 min runtime. The pacing was decent for the most part, and his directing and camera shots were excellent. Even the colorful cast of outcasts performed well, although Olivia Luccardi as Remy could've used better cast direction in the first half. The story itself was a combination of genres mixed together and it actually worked. It wasn't perfect writing, but all this put together by a relatively inexperienced filmmaker was impressive. It's certainly worth at least a one-time watch, and a well deserved 8/10 from me.