More of a bonbon for cinephiles than a slasher contraption for the masses, Nia DaCosta’s Candyman (B+) builds on producer Jordan Peele’s recent masterworks to expose horrors of the American race and class struggle. Her uncanny Chicago-set narrative about appropriation and gentrification focuses primarily on razor-focused actor Yahya Abdul-Mateen, who plays an artist obsessed with a new subject based on the urban legend of a hook-armed killer bearing sweets who once haunted the city’s projects. The talented Teyonah Parris provides a formidable foil as his partner, an art gallery executive trying to remain above the fray of mysterious mounting events. The ubiquitous Colman Domingo is also effective in a small role. The cinematography, music and menace are straight out of a Hitchcock or Kubrick composition, providing the typical tenets of the horror genre with a considerable upscale upgrade. The labyrinthine honeycomb of this only slightly supernatural take on the Windy City, filled with swirling bees, fun house mirrors, eerie incantations and blood dripping like honey through nooks and hallways, becomes an apt metaphor for twists to come. There are few extended sequences of gore or fan favorite jump scares; instead there is a gradual unveiling of themes and origin stories to stimulate the mind and provide a deeper sense of unsettling. Watch the color palette for clues, and enjoy creative montages including shadow puppets for clever insights into the backstory. DaCosta is all sting as she goes in for both the message and the kill, and if there were one constructive criticism to offer an already pensive film, it would be that it needed even more character development and nuance so that personal transformations could fire with additional intensity. DaCosta’s film is strong and beguiling, and it could become one of those unsuspecting art films to mysteriously rule the box office.