- Adaptation Displacement: Few people are even aware of the original short story.
- Crowning Music of Awesome: Philip Glass's ultra-gothic minimalist score, all wordless choirs and pulsing pipe organ, elevates the film from slasher flick to grand tragedy.
- Narm: Candyman showing up and pulling that asylum doctor through a window. There's also Helen taking this opportunity to walk along the outcropping outside, signal a nurse to let her in, and promptly knock her out to steal her outfit.
- "We hear you're lookin' for Candyman, bitch."
- Sequelitis: Depends on how much you liked the first film, but the others pretty much abandon the metaphysical observations on the power of urban myth from the original.
- Spiritual Licensee: The first film evokes the surreal atmosphere of a Stanley Kubrick horror film such as The Shining with elements of David Lynch. What further helps is that the music by Philip Glass can be considered to be reminiscent of Wendy Carlos's electronically musical work (Carlos had worked with Kubrick on films The Shining and A Clockwork Orange).
- What an Idiot: Helen, when you wake up in a pool of someone else's blood with a dog head in the hallway and a woman screaming in the other room, you might not want to pick up the bloody cleaver on the floor and hold it in a menacing fashion.
- She thought that the killer was still in there, and a woman was being threatened, if not slaughtered right there and then. Which is worse? Be implicated for murder or become a victim?
- Really, everyone who summoned Candyman, or at least after the first victim.