Candyman 3: Day of the Dead

Candyman 3: Day of the Dead (credited onscreen as *Candyman: Day of the Dead*) is a 1999 American supernatural horror film directed by Turi Meyer, with Tony Todd and Donna D'Errico in the lead roles. The third movie in the Candyman series, it directly follows the events of 1995's *Candyman: Farewell to the Flesh*. Unlike its two predecessors, it skipped theaters and went straight to video on July 9, 1999.

The plot centers on Caroline McKeever, daughter of Annie Tarrant and Paul McKeever from the second film, and a direct descendant of Candyman—the vengeful spirit of Daniel Robitaille, a free man and artist who was murdered for his relationship with a white woman. Caroline summons Candyman at a gallery event in Los Angeles, leading to a series of murders. Through flashbacks, it's revealed that Candyman killed Caroline's mother, Annie, by slashing her throat in the bath; her death was not ruled a suicide in the narrative. Before dying, Annie told Caroline to "destroy the myth." Caroline eventually learns from a psychic healer that destroying Candyman's paintings will destroy him, as the paintings are tied to his existence. After Candyman kidnaps her friend David, Caroline retrieves the paintings from a local gang, who are all killed by Candyman when they try to sacrifice her. She destroys a portrait of Candyman with a hook, causing him to burst into flames when a candle ignites the painting. Later, Detective Kraft, who tried to kill Caroline with a hook, is shot by another officer. Before dying, Kraft whispers "Candyman." Caroline tells the police that Kraft was Candyman all along, and she declares in front of a mirror that "there was no such thing as Candyman" to ensure the spirit is dead. The film ends with Caroline, David, and his daughter having a picnic at Annie's grave, convinced Candyman is gone.

Filming took place in Boyle Heights, Eastside Los Angeles over 18 days, with two to three additional days for second unit shots. The budget was closer to $1 million than the planned $3 million. Norman Gary, who handled bees for the previous two films, returned after reducing his fee. Real graffiti artists were paid $100 each to tag the subway set. Composer Adam Gorgoni wanted to use themes from the earlier films but had to create an entirely new score because permission to use Philip Glass's music was denied.