Oh man, hasn’t the release for the new Ghostbusters been a frightening affair?
More so than the actual ghosts in the film!
A weird wave of anger and anxiety arose, much like the Stay Puft Marshmallow did from Ray’s subconscious, for a franchise that was just over 30 years old. Entitlement to childhood nostalgia is all good and well, but at the end of the day “change is gonna come” like Sam Cooke says, so you better prepare for that bubble to get popped.
This is especially true in the case of Hollywood, whose tendency to rehash old ideas can come about faster than their sequels, which is how we get to the reboot of the Ghostbusters franchise.
Hey look, it’s the Ghostbusters!
That’s literally it.
Everything about this reboot or re-imagining or whatever bloody word they want to use for market, is exactly all the definitions of whichever word is in use.
The former Ghostbusters produced a tight origin that came to full-blown fruition by the films conclusion. The new team of Ghostbusters follow a very similar arc, but have their story churned through a giant blender of exposition that for a viewer such as myself is a dream.
Why do the proton packs look the way they do?
What are the ghosts doing and where are they coming from?
How can these 4 people working a job that relies on very odd experiences afford to live in a giant firehouse in the heart of New York in this day and age?
This is of course answered by a cracker cast or heroines and one muscular dolt who deliver a stream of jokes akin to that of a ghost regurgitating ectoplasm (both in ferocity and similar jokes to the original).
It’s all good and well to say the actresses talent is superb across the board, but that ignores the huge tour-de-force that is Kate McKinnon in her role as Hotlzmann. So confident and poised in a role that mashes up characters made famous by Dan Akroyd and Harold Ramis, her turn as the engineer who creates the team’s ghostbusting-wares is as excellent as her scene that returns to greatness the classic DeBarge track ‘Rhythm Of The Night‘.
Also of note is Chris Hemsworth as Kevin The Receptionist, who seems to be more Louis Tully than Janine Melnitz and shines as the ‘butt’ of many jokes for Wiig to play off.
A post-credits ending is exciting in the scope it creates for the universe, tying together elements of the original as nicely as the cameos.
This Ghostbusters doesn’t ruin childhoods. If anything, it makes it exciting to see how much bigger they can make those stories.
I really need this new Ghostbusters Trilogy to happen, cause this setup for it is EXCELLENT