Movie Review: Ghostbusters: Afterlife

I campaign for Ghostbusters: Afterlife to be a cynicism test barometer. If you’re a cynical person, you will despise this film, hating the film even more with each passing minute. But if you’re more of an optimist like me, or you’re someone who grew up playing with Ghostbusters toys, then Afterlife will be a pleasant nostalgic 2 hour ride of empty movie calories. Think Rise of Skywalker, but more silly, and therefore more tolerable than Episode IX.

The only ghosts at the beginning of Ghostbusters: Afterlife are the figurative ones left by Egon Spengler (RIP Harold Ramis, you brilliant, goofy man). His daughter Callie (Carrie Coon) is a broke, frustrated single mom to normal teen Trevor (Finn Wolfhard) and Egon’s heir apparent, Phoebe (Mckenna Grace). Evicted from their apartment, the family moves to Egon’s last residence in Summerville Oklahoma. There, Phoebe learns of her family past, and gets support and help from the summer school teacher, Gary Grooberson (Paul Rudd).

Ghostbusters: Afterlife plants its supernatural feet on its intent to make the franchise a family affair. Jason Reitman, son of original Ghostbusters director Ivan Reitman, directs this 2021 reboot, giving the movie a little extra “awww.” Reitman smartly resets the location to a small town. He also builds the whole movie as a loving tribute to the no longer with us Harold Ramis’s Egon Spengler, revolving the film around his next of kin. For anyone who’s a fan of any great comedy from the 1980s, an homage to the man actively responsible for most of them isn’t a bad place to start. With Bill Murray no longer front and center in the franchise, Jason Reitman also dials back the sexual innuendo, turning Ghostbusters into more of a family friendly live action cartoon, and who better to usher in this new era than the adorable Paul Rudd, enthusiasm incarnate?

But the real cynic test is the final 30 minutes. The movie before that was filled with the wonder of a kid 23andMeing her family. The final 30 the Marvel effect then kicks in, forcing a giant CGI fest battle the movie is building towards as expected. But that battle is complete, and total, fan service, doubling down on Ghostbuster lore the movie assumes the audience knows. Good luck if you’re new here. The final 15 I’ll admit was so hilariously manipulative and obsessed with remixing the past even my cynic meter went to about 7/10, including some real morally complicated decisions. But if you were along for the ride like I was, a couple of those manipulations will hit hard, and make you brush past the other heavy sap. If you’re more cynical? You’ll probably consider walking out.

Ghostbusters: Afterlife shares a lot of similarities with a greatest hits album. Sometimes stuff was great for a reason, and you just want to hear what you love. Sure there might be a karaoke version of your song or some modern remix, but you’ll skip that track, ready for the next hit. At least Reitman literally took that metaphor seriously and gave us Ray Parker’s amazing theme song. Man that’s a banger!

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