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The film opens as it means to go on, with a sex scene followed by a full-on vag shot (something you don't see on-screen all that often outside of a porno). If you're not a fan of good old-fashioned exploitation, in all of its scuzzy glory, then Candyland probably won't do it for you I, however, am rather partial to a nice-and-sleazy psycho flick and this film, from director John Swab, is just that, a raw slice of sick cinema that explores the seedy underbelly of Middle America. The newcomer is taught the art of being a 'lot lizard', but is secretly on a mission to cleanse her newfound family of their sins using the dagger concealed inside her wooden crucifix. Madame Nora (Guinevere Turner) takes Remy under her wing and coerces her into becoming one of her girls. Overall: Good story finished off by typing into ChatGPT: 'write the ending of a religious slasher.'Ĭast out from her religious cult, virginal Remy (Olivia Luccardi) is befriended by the tight-knit group of sex workers who ply their trade at a nearby truckstop known as Candyland.

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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.

No idea why they always pull the rug out from under interesting stories. 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. Also, there's no real jeopardy for the villain since nobody entertains any suspicion, making the plausibility break down as the climax approaches. 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. The bad comes in the second half, when we enter straight up slasher mode. 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. It helps that the cinematography and the writing and editing keep the scenes on point, with a good flow. These characters are very nicely put together, and I was totally engaged by them for the first half of the story. 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.

People say this harks back to '70s exploitation movies - and it does, but in two ways: one good, one bad. 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.

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