For children sauntering through the aisles of the video store peeking at R-rated movies they would have to wait an eternity to see, one film in particular likely sends chills down their prepubescent spines: “Candyman.”

The title’s promise of delectable, pleasant mirth is immediately shattered by the film cover's terrifying visual of a blood-red eye with a menacing, man-shaped shadow for a pupil and a solitary bee sitting on the eyelid. The tagline is equally horrific — “We dare you to say his name five times!” — as it creates an insatiable desire to test the declaration while dreading the potential consequences.

In the film, repeating the phrase causes the Candyman (Tony Todd, TV’s “Chuck”) to appear immediately behind the summoner, and he proceeds to hook the person and anybody in the vicinity from “groin to gullet.” But this isn’t just another slasher film with the villain cutting up an endless supply of silly teens who dare test the myth. Instead, “Candyman” serves as an intelligent psychological thriller, examining the impact of an urban legend on the public and individual psyche, while providing enough shocks and chills to be sincerely scary.

The film’s lead, Helen Lyle (Virginia Madsen, “Sideways”), happens to be a graduate student researching urban legends, specifically the story of the Candyman. Helen uncovers that residents of a crime-infested, low-income housing project are connecting a series of gruesome deaths to the myth of the Candyman, who is said to reside in the city. Here, in the derelict, graffiti-strewn buildings of the project, complete with barking pit bulls and threatening gang members, Helen begins her investigation. Does the Candyman actually exist or are criminals merely exploiting the legend to terrorize the community?

The answer remains intentionally ambiguous throughout the film. Even when Helen foolishly summons the Candyman and he begins to slay her acquaintances, it is never clear if the murders are the doings of this wraith-like figure or, even more outlandishly, if Helen is committing them herself in a maniacal trance.

On screen, it appears as though the Candyman is cutting through the victims, but these may just be images formulated by her mind. After all, behind her tough exterior, Helen has a very vulnerable mind, constantly questioning her husband's fidelity. The movie suggests that such a frail mind is susceptible to manipulation — perhaps Helen’s subconscious is absorbing the urban legend and using it as an excuse to expel frustrations by murdering people. Then again, much of the dismemberment in the film would require a lot of strength, thus making it equally likely that the illusory Candyman is the true culprit.

The Candyman stands alongside some of the horror genre’s greatest menaces, yet he is distinct in his approach and appearance. Unlike Jason Voorhees of "Friday the 13th" fame and countless other villains, the Candyman doesn’t hide behind a mask. His intense visage is revealed to the viewer, allowing for a hint of humanity in what is normally a soulless character. The wise, brooding figure is surprisingly insightful, making fascinating proclamations about the power of his legend.

Those concerned that “Candyman” might be overtly philosophical need not worry — the film contains all the elements of a classic horror thrill ride. It is consistently suspenseful because of its dimly lit scenes, sharp editing and harrowing Philip Glass score. A swarm of bees fills the revolting creature quota, and there is a satisfying but not excessive number of gruesome-yet-awesome deaths. Because of this, “Candyman” works on multiple levels. The film's deeper subtext can be ignored by those seeking a diversion or adopted by those searching for a little “more” from their horror films. Either way, “Candyman” is a memorable frightener.