Candy Cane Lane Review: A Festive Fumble or Holiday Hit?

In the realm of Christmas movies, certain elements are considered essential: the gentle jingling of bells, the warmth of roaring fires, and the inevitable journey towards personal growth, often accompanied by last-minute revelations. 

Occasionally, these festive tales take an unexpected turn, involving Faustian pacts with mischievous sprites, all in pursuit of a capitalist Christmas payday. This particular holiday season brings us a tinsel-wrapped comedy, reuniting Eddie Murphy with director Reginald Hudlin, previously known for their collaboration on Boomerang.

Eddie Murphy, in his trademark style, portrays the perplexingly obtuse character Carver, striving to safeguard his family from the relentless pursuit of Satan's little helper. This malevolent sprite unleashes the 12 plagues of Christmas upon the Carvers, ranging from drumming drummers to ninja-like leaping lords, each adding chaos to their journey towards the 25th of December. 

The film flirts with horror tropes, introducing an evil immortal, an insidious curse, and even demonic tree ornaments threatening to steal souls. One can't help but wonder if this chaotic Christmas comedy could have taken a darker turn, akin to a Krampus-style festive frightener. At times, the characters themselves acknowledge the absurdity, exclaiming, "This only happens in horror movies," prompting a retort from a sceptical mother.

Despite the potential for a more sinister narrative, Candy Cane Lane opts for a lighter approach, primarily focusing on Carver's attempts to avoid imprisonment inside a Christmas ornament for all eternity. 

While the performances vary in quality, with Nick Offerman's Dickensian talking decoration being nearly unrecognizable, the screenplay by Kelly Younger keeps the gags flowing at a rapid pace. The script incorporates inspired pop-culture references, ranging from Oprah to Die Hard, offering a humorous take on the fecklessness of Gen Z.

A Blend of "It's A Wonderful Life" and "Drag Me To Hell"

Described as part It's A Wonderful Life and part Drag Me To Hell, this unconventional blend may not secure its place as a seasonal classic. Nevertheless, amidst the chaos, there are enjoyable moments, including a lactose-based assault from a deranged maid-a-milking and a psychotic elf delivering a kick to Black Santa's nether regions.

Eddie Murphy's presence in "Candy Cane Lane," a seemingly basic Christmas movie, is likened to driving a sports car to the local supermarket – perhaps an unnecessary level of firepower for the task at hand. Murphy, aware of this imbalance, navigates the festivities with a notably lower energy compared to some co-stars. 

The film introduces a plotline reminiscent of a blend between "Jingle All the Way" and the reality show "The Great Christmas Light Fight," where Murphy's character, Chris, engages in a neighbourhood Christmas light contest that takes an unexpected turn with the promise of a $100,000 prize.

Directed by Reginald Hudlin, who previously collaborated with Murphy on "Boomerang," Candy Cane Lane injects humour into the concept of celebrating Christmas in sunny Southern California. However, the film, executed in a by-the-numbers fashion, lacks the necessary spark to elevate it beyond the standard holiday fare. 

It raises questions about Amazon as the platform of choice for a movie conveying a moral lesson about family over consumerism, introducing a touch of marketing-driven hypocrisy.

In the grand tradition of holiday movies, "Candy Cane Lane" joins the annual lineup of festive films, providing a passable addition without offering much substance. Even a closing outtake sequence fails to elicit laughs, emphasizing the overall lack of energy and creativity in this seasonal outing.

Amidst the Deluge of Festive Films

Amidst the deluge of festive films, the involvement of Eddie Murphy in Amazon's "Candy Cane Lane" initially sparks hope for something extraordinary. Murphy, a beacon in the world of cinema, has a track record of brightening any film, regardless of the season. However, this optimistic anticipation is met with disappointment as "Candy Cane Lane" unfolds as a confused and convoluted confection, struggling to find its footing.

Murphy takes on the role of Chris, a family man engaged in the neighbourhood's annual Christmas light contest, a seemingly straightforward premise. Yet, as the stakes are raised with a $100,000 prize and unexpected sponsorships, the film meanders into an intricate plot involving a mysterious store, extravagant decorations, and a Faustian twist. 

The narrative becomes increasingly hard to follow, with rules of magic loosely defined, half-baked lessons about Christmas and family, and a tone that awkwardly shifts between supernatural kiddie horror, slapstick comedy, and family drama.

While Murphy and the talented Tracee Ellis Ross attempt to inject life into the film, they find themselves racing to keep up with a plot that twists and turns without clear direction. The California setting dampens the Christmas mood, and the lack of professional lighting in a streaming movie further detracts from the festive atmosphere. The reunion of Murphy and director Reginald Hudlin, who previously collaborated on "Boomerang," fails to recapture the magic, leaving viewers with a sense of "where are they now."

Despite the bizarre plot elements that distinguish "Candy Cane Lane" from other seasonal movies, it lacks the spirit and vitality needed to make it truly stand out. Murphy and Ross deserve a better showcase for their talents, and the audience, particularly during the holiday season, deserves a more engaging and spirited cinematic experience. 

In the end, "Candy Cane Lane" becomes a forgettable addition to the array of Christmas movies, failing to deliver the anticipated joy and magic associated with Eddie Murphy's name.

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