Nanny is visually gorgeous and chock-full of great performances, but eventually descends into “fugue soup,” and the overwhelming water motif spoils the ending.
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Period creature-feature goodness and an interesting twist on the mechanics of lycanthropy are diminshed by pacing issues, a sometimes-drab color palette, and some questionable choices about the film’s Roma pseudo-antagonists.
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While it’s hampered by a muddled climax, strong direction and performances make Nia DaCosta’s film a worthy heir to the Candyman mantle.
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