Rating 12a Length 2h04 Release 18.11.2021 Director GJason Reitman About When a single mother and her two children move to a new town, they soon discover they have a connection to the original Ghostbusters and the secret legacy their grandfather left behind. Moon: no moon sighting Where to Watch: Cinemas Trailer:
This is a legacy film for so many reasons. It returns us to the 0 universe in which Ray, Egon, Winston and Peter established the Ghostbusters. Not only that, it’s directed by the son of the original director. This is as much a love letter to Ivan Reitman as it is to us, the fans.
There is fan service a plenty, but it’s not the nod and wink effort of the 2016 incarnation. It’s nostalgia. It is that bittersweet feeling you have when you find something you’d almost forgotten.
Mckenna Grace gives us Egon reincarnated as the beautifully geeky Phoebe. She’s a little at odds with the world, but she is an absolute genius. I adore everything about this character and I am beyond happy with Grace’s performance.
The mixing of visual and practical effects really does work for the film. It certainly would seem, on the most part, the production made the right choices about what to use and when.
Paul Rudd providing some of the information and filling in the gaps for the new generation was beautiful. It felt almost like he was one of the many dad’s in the viewing I went to explaining to their children the legacy they were about to watch.
It’s not often I don’t like the score… and it’s not that I didn’t like it, per say. It was that the original score was relied upon a little too much, and too often without giving something that gave this film its own sound. Maybe I’ve been too spoilt with the blended scores of Star Trek and Jurassic World, but for me the music used is so embedded into scenes of the first, and second, movie that it distracts from what I’m watching on the screen… mainly because the music has triggered that hop Venkman does after seeing Dana after leaving work.
There is an argument for it pulling a ‘Force Awakens’ or a ‘Jurassic World’, in that the film retraces steps. Yes, it does at certain parts however, I do believe it is justified in order to have that connective thread linking the characters. Besides, Ghostbusters Answer the Call (2016) gave audiences something new and you all said it was shit, so… suck it!
Be prepared for tears. This is an emotional story, not only for people who grew up on the original films not seeing their childhood being nuked like Indiana Jones did 13 years ago, but in terms of how the film deals with Harold Ramis’ absence.
I said the CGI worked, on the most part. There is one part that just didn’t work and I really wish they’d cut it; the damn overhead jump shot of Eco1. It looks cartoonish and really stands out.
Have you ever heard a young kid in a cinema shout “They’re going to use the trap daddy!”? Oh my god, the screening I went to was full of chuffed dad’s seeing their kids enjoy a beloved franchise from their own childhood. Fuck me, it was beautiful to watch. Actually, so was watching the 13/14 year old lads belt out the theme song when it came to the credits.
It’s a film that gives charm, comedy and joy, sets up a potential sequel (not holding my breath, so did 2016 and that got shut down fast) and reminds us … geeks are fucking awesome and always have the best toys!
Rating 12a Length 2h 14 Release 11.7.2016 Director Paul Feig About Paranormal enthusiasts Abby, Erin, Jillian and Patty set out to capture ghosts when they realise that someone is attempting to cause an apocalypse by summoning ghosts in the city of New York.
Kate McKinnon is the best thing to come out of this movie. Jillian Holtzman is branded chaos and a hot geeky mess that anyone who watches is here to watch. From the outfits, to the zingers McKinnon was having a blast and living any girl’s (*cough* me *cough*) dream of being enlisted as a Ghostbuster. Holtzman was the love child of the OG’s. She has Stanz’ passion, Venkman’s dicey dry wit and Spengler’s geeky flair (and hair). Can we also please commend this film for its presentation of Holtzmann’s sexuality. She just… was. There was no conversation, no label. Perhaps (I doubt it) I’m reading too much into it, but to me it is clear she’s gay. I *know* this and it wasn’t made into a thing. I don’t know if I’m wrong to see this as a good thing, but I feel like that’s the way it should be. Had the film had *that* conversation, to me it would have felt like a check box being ticked and they might as well have put a neon sign shouting “we’re being diverse”. Its a fine line to be walking. To me I see her as clear representation, however I also know how Cursed Child was criticised for ‘playing it safe’.
I love the big bad plot. Its original, its well incorporated into the film and fully resolved. There’s a mystery there and while the audience is in on it, we don’t know the full plan.
The music is amazing. I think it was not long after my second cinema viewing I purchased the album and I’ve listened to it off and on ever since.
Must admit, I did like the cameos throughout the film. It was a nice geek touch. The best, by far, is the one that comes during the mid credit scenes.
As a group, McCarthy, Wiig, McKinnon and Jones work well together. If it was any other movie, there would never have been the backlash. As an origin story goes, these four women give us brains, family and humour. What else do you want?
It is a SNL film. Saturday Night Live is an aquired taste. I’m not talking political affiliation here and it is really hard to call it a criticism given that most of the original cast were alumns. However, there’s a certain type of over acting that is glossed over a number of the company of Studio 8H. Cecily Strong is the best example, mainly because she grated from the start. It’s an almost pantomime kind of acting that sets my teeth on edge. There’s also the element of ad lib that just doesn’t suit a film like this. The jokes don’t always stick their landing and as an audience, we really want a polished product, not wooden zingers.
Kristen Wiig does an amazing job for about 80% of the time. Unfortunately that remaining time is so utterly over done and cringe that I hate it just that little bit more each time I see it. The biggest issue I have is her hysterics at the restaurant. It’s not funny at best and at worst, it allows for the digs about why there was no place for a ‘gender swap’ reboot.
Speaking of which, the digs at the expense of the ‘busters being women got old really fast. Especially five years later, its eyerolling and really serves no purpose as I’m pretty certain those who they were aimed at have never watched the movie.
Perhaps one of the biggest missteps was making this a reboot. If you had the OG cast on board, you pass the torch. The origins of these four women doesn’t surpass the original and while it was cool to watch Holtzmann and the evolution of the Proton Pack, she had so many other toys to show us. Also, there are way too many Easter Eggs. You cannot have that many and have it be its own thing. It feels so meta that my head hurts.
I don’t like the treatment of Patty. I don’t like that Leslie Jones is the only member of the Ghostbusters that isn’t a Scientist and its the role that goes to the person of colour, again. At least in the first one it is addressed (sort of). There’s a number of times the other three ‘tell Patty off’ and it really gets tiresome. Its always a put down that could be construed to be about her race too, which just stalls any progressiveness the film might have. I’m not sure if Feig stating that the character was originally meant to be for McCarthy, but to me, the fact that you wrote the character for a white woman who may, or may not, have refused the role for a ‘better’ part doesn’t sit right with me either.
This is not part of the franchise and it doesn’t do it justice either. This is a very expensive piece of movie fan fiction. An AU if it were. It does work well in isolation, and on the big screen, but 5 years on it’s not aging well.