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Review: ‘Ghostbusters’ is All Female, All Nostalgic and All Cliché

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Ghostbusters Review MovieSpoon.com

[dropcap]T[/dropcap]he first Ghostbusters movie in nearly three decades arrived with much nostalgia to bank on. Leading up to the premiere of the movie, my social media feed was all abuzz of my peers gushing over the return of the Ecto Cooler promotional drink and slime-colored Twinkies. These attempts at generating hype for the grand return of Ghostbusters were beginning to wear me down with the way fans went bonkers for green sugary treats.

By the end credits of this new movie, I felt as though I had eaten an entire box of Twinkies and chugged a gallon of Ecto Cooler. It was an experience that left me nauseous, weary and regretful, asking myself why I ever thought this would be a good idea. Those slime-colored glasses have to come off.

Ghostbusters Review MovieSpoon.com

The gang of gals looking tough.

The new Ghostbusters banks hard off its elements of nostalgia and marquee value. The director, Paul Feig, is one of the strongest comedic forces of the decade with his all-female casts that deliver as successes, both critically and financially. He assembles his own female Ghostbuster team composed of comedy familiars Melissa McCarthy, Kristen Wiig, Kate McKinnon and Leslie Jones.

The key to what made the first Ghostbusters movie a success was the chemistry of the actors in how they played off one another. The problem with Feig’s female Ghostbusters is that they are lacking comradery. Each one of them feels as though they’re struggling to bust out as many one-liners as they can, refusing to let each other step over or play off of their lines.

In trying so hard to be funny, their characters come off as underdeveloped joke vehicles. Kristen Wiig plays Erin Gilbert, a meek and awkward professor struggling for tenure, but only as timidly as Wiig can play her. Kate McKinnon does her best to steal the show as the eccentric scientist/weapons expert Jillian Holtzman, but she’s not given much to work with being entirely composed of random quirks. Leslie Jones fulfills the familiar everyman (everywoman?) role as MTA worker Patty Tolan, but she is so loud and sassy in her fight to be relevant that she may as well just be another wacky scientist.

Ghostbusters Review MovieSpoon.com

They might as well be aiming those at each other.

As for Melissa McCarthy, arguably the most notable of the primary cast, she isn’t given much of a character at all as Abby Yates. She has a history with Erin in that they both wrote a book on the paranormal, but it’s mostly just a generic McCarthy character, narrowly avoiding the fat jokes of her non-Feig roles. Chris Hemsworth could have been the most pleasant surprise as the inept idiot secretary, but he’s written to be so stupid that he may as well be mentally retarded. I’m surprised they even gave him lines considering he’s mostly only present as beefcake eye-candy for the blushing Wiig to wrap her hands around.

The story is razor thin. Granted, story was never a strong suit of Ghostbusters, merely acting as a platform for the comedic team. But this Ghostbusters refuses to do any of the grunt work in establishing its characters, its antagonist or its paranormal lore. The evil demon Rowan (Neil Casey) is committed to unleashing ghosts on New York City. He’s played so generically to the point where all he needs is a mustache to twirl as he shakes his fist at those darn Ghostbusters.

Not much is known or revealed about this character’s motivations outside of him apparently being bullied and seeking revenge on humanity, a backstory only whispered in passing. Remember all the history and scientific studies the Ghostbusters did to stop the evil forces of Zuul or Vigo? The most you can expect from this group of heroes is drawing a correlation of events on a map and connecting the dots. They don’t have time to know their enemy as they’re too busy testing ghost-zapping shotguns and grenades.

 

There’s an awful lot of technobabble thrown into the script, shot out at rapid speed to paint these women as smart and innovative. But when the third act arrives for the giant CGI show of invading ghosts, the script has given up explaining any of this and throws any ghost design it wants at the screen. Big-legged giant ghosts? Sure, we don’t need to explain why that’s here. Floating balloon mascot ghosts? Who cares if it doesn’t make any sense – throw it in. A city-destroying bedsheet-ghost? Don’t bother explaining why it had to be so large – we need something massive enough for the Ghostbusters to shoot at.

Click to the next page to hear about Bill Murray’s cameo:

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Review: “Incredibles 2” is a Fantastic and Fresh Return to Form

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Oh, how we waited so long for that sequel to Pixar’s The Incredibles, arguably their most exciting, inventive, and dynamic of animated films. Sure, they could have tossed it off to another director to deliver a film in 2009 or maybe even craft an animated series in 2012. But they didn’t. And so we watched and longed as Pixar churned out sequel after sequel to other properties; some brilliant (Toy Story 3), some mild (Finding Dory), and some confoundingly conceived (Cars 3). The good news is that patience for Brad Bird’s return to the franchise as writer/director was not in vain. He has returned to give us something fresh, bold, and intelligent out of a franchise that deserves nothing less.

While the Incredible family was last seen bonding while bashing robots, they still have some issues to solve. Socially, there’s a disconnect between working together and taking responsibility. Role-wise, there’s an unease of trust when shifting duties. And legally, superheroism is still a big no-no in their society. Naturally, the immediate problem is trying to lift the ban on superheroes, and it’s going to take careful consideration to ease the public trust. That’s where Elastigirl (Holly Hunter) comes into play, teaming up with a tycoon (Bob Odenkirk) to reshape perceptions of heroism with her body-reshaping superpowers. And since Bob Incredible (Craig T. Nelson) pulled the solo hero path last time, he takes on the more onerous task of maintaining a household. Being a stay-at-home isn’t so bad, but it’s a draining nightmare when dealing with his speedster son Dash (Huck Milner), his emotional daughter Violet (Sarah Vowell), and the baby Jack-Jack that is more of a hodgepodge of powers than he was in the last film.

While Incredibles 2 both mimics and restructures the focus on family dynamics, it’s amplified more than enough to be its own thing rather than a retread. Elastigirl’s crime-stopping crusade pits her against the hypnotizing villain Screenslaver, a masked and technological terrorist that may be a pawn in a bigger conspiracy. Bob’s new mission of raising the kids on his own is not a mere mess of parenting malaise, but as much of a hilarious and visual feat as Elastigirl’s cityscape adventure. There are relatable challenges of Dash’s homework and Violet’s troubled love life at school, but how many dads have to stop their infant from fighting raccoons outside with laser eyes?

Everything in the film has been expanded to the degree where this world is more open, dwarfing the previous film’s scope. Frozone (Samuel L. Jackson) returns and has far more to do than chill between acts. The same is true for the world of superheroes that blows up to include Owl-men, lava-lurchers, and interdimensional portal weavers in the film’s explosive climax. We see more of the cities and their striking 60s deco design of wonderment, from old-fashioned TV studios to state-of-the-art trains of the future. The film even goes deep into Bird’s love and inspiration of Jonny Quest with a multitude of Easter eggs, including literally playing Jonny Quest on nearby television sets.

There’s a unique balance of adult themes and engaging storytelling where the superheroes feel as though their perspective has been warped by misplaced perceptions, political bureaucracy, and a fear of the new manifesting in cultural roles. If this all seems a little heavy for the kids, worry not. The standout attraction is the adorable Jack-Jack, showcasing what appears to be an endless series of superpowers. Among his many attributes, he can set himself aflame, transform into a demon, hop through dimensions, and duplicate himself. This makes him troublesome, but all funnier for his adorable nature. Even the usually snooty hero-fashion designer Edna (Brad Bird) can’t resist the little scamp that she’s willing to be called an auntie.

For the basest of thrills, Incredibles 2 doesn’t let down in the animation department, boasting plenty of gorgeous action sequences that involve everything from splitting motorbikes to missile-launching cars to runaway hydrofoils. But what makes Incredibles 2 just as strong for the second go is that it never loses the charm and smarts with the themes of struggling parents in every aspect of their lives. So strong is this writing that the heftier abundance of fights and feats never feel like filler for such a rich story. It seems fitting that the Incredibles would return amid the recent surge in superhero films, where an animated film fit for the family would be aptly timed. True, but, as with Marvel’s most box office shattering pictures, it returns with a purpose and precision that aims to give fans and families more than capes and cowls. Edna hates capes, after all.


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Box Office

Ocean’s 8 Snatches Box Office Top Slot

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Box Office Report June 8-10, 2018

Ocean’s 8, the all-female remake of the heist picture Ocean’s 8, made a strong debut for its first weekend. The film starring the likes of Sandra Bullock, Cate Blanchett, and Anne Hathaway brought in $41.5 million. Considering the budget of $70 million, the movie still has a few weeks to go before breaking even.

Summer tentpoles are still lingering and are certainly not going to be leaving the top 10 any weekend soon. Solo: A Star Wars Story, despite a surprisingly low debut gross, remains at #2 with a weekend gross of $15.1 million, bringing its total to $176 million. Not bad for your average summer film, but significantly disappointing for a Star Wars movie that usually brings in a hefty sum. Just beneath it in the rankings is Deadpool 2, the superhero satire starring Ryan Reynolds, making $13.6 million for a total so far of $278 million. And Avengers: Infinity War continues to stay in the top 10 with another $6.8 million, adding to its already epic total amount of $654 million. It may be well on its way to toppling 2018’s other superhero blockbuster, Black Panther, which as it happens is just one million away from making $700 million domestic. Infinity War is, however, only $2 million away from reaching $2 billion worldwide.

The two other new films this weekend were lost in the dust, though they may gain a small following. Hereditary, a surprising new horror form studio A24, debuted in under 3,000 theaters but came in at #4 for the weekend with a $13 million gross. Considering the good word of mouth the film has been getting, and an electrified ad campaign of being the “scariest movie ever”, it may be sticking around in the top 10 for quite some time. Also debuting much lower is the sci-fi noir picture, Hotel Artemis, coming in at #8 with a small $3.1 million take.

Read the full top 10 below:
Ocean’s 8 ($41,500,000)
Solo: A Star Wars Story ($15,154,000)
Deadpool 2 ($13,650,000)
Hereditary ($13,037,336)
Avengers: Infinity War ($6,836,000)
Adrift ($5,050,000)
Book Club ($4,200,000)
Hotel Artemis ($3,151,118)
Upgrade ($2,220,000)
Life of the Party ($2,105,000)

Next weekend’s new films will include Pixar’s long-awaited superhero sequel The Incredibles 2, the based-on-a-true-story comedy Tag, and the modern remake of blaxploitation classic Superfly. Considering the wealth of fans for The Incredibles, the 4,200 theaters it will be debuting in, and the projected massive take, it’s clear as crystal who will be next weekend’s winner of the top slot.


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Review: An All-Star Cast Makes “Hotel Artemis” Worth Checking In

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We don’t know too much about the chaotic future of Los Angeles in Hotel Artemis. We know there is a water conglomerate, a city-wide shutdown of water services, and violent riots in the streets. That’s about all Jean Thomas (Jodie Foster) knows and all she wants to know. She resides at the titular hotel on the top floor as the nurse for her secret hospital for criminals. It’s dangerous work and she finds herself overbooked on the night of the city’s most massive riot, where several unsavory people converge for hushed healthcare. It’s a recipe for disaster, but for Nurse Thomas, it’s just another Wednesday.

Sofia Boutella and Charlie Day in HOTEL ARTEMIS.
Photo credit: Matt Kennedy / Distributor: Global Road Entertainment

The rustic hotel becomes a stew of colorfully conspiring characters that will feud and toy with each other, despite the hospital rules of not killing the other patients. Sterling K. Brown plays a robber that needs some help for his brother (Brian Tyree Henry) after a botched robbery. Sofia Boutella plays a femme fatale assassin that always seems to be on the clock in her fancy dress, skilled with using coffee cups as deadly weapons. Charlie Day is a rich snob that can’t wait to get out of the city and look on the lowlifes rather than receiving the same bedside manner. And even more guests will show up including a cop (Jenny Slate), a ruthless mob boss (Jeff Goldblum), and the boss’ eager-to-kill son (Zachary Quinto). If it weren’t for the muscle-bound assistance of Everest (Dave Bautista), the Artemis wouldn’t last long with its failing power, rickety elevators, and blood-stained sheets.

Thomas is overworked and crippled with guilt and anxiety, but brushes off those questioning her with her standard response: “Busy night at the Artemis.” That’s an understatement. There is so much going on in this ensemble-filled enclosure that the various arcs wobble and topple all over each other. The trailers made the plot seem so simple with Sterling accidentally stealing a pen that contains million-dollar diamonds, belonging to Goldblum’s character that is quite strict with his punishments for pilfering. And yet that’s not the reason Goldblum stops by, as he has need of medical services and becomes intertwined in the many messy affairs. Some of the characters have contracts to kill from within the hotel, some have guilt they’re trying to get over, and some have past relationships that rekindle. The film can’t seem to settle on a central story with the same indecisiveness of the allegiances of the occupying scum.

Sterling K. Brown in HOTEL ARTEMIS.
Photo credit: Matt Kennedy / Distributor: Global Road Entertainment

There’s an all-star cast on parade for this fast and frenetic futuristic crime tale, and they become the glowing center of this decadent ride. Jodie Foster is adorable as the slick-talking nurse. She has enough experience with lawbreakers to not only enforce her domain but do so with a knowing smirk and biting commentary. In any other film, she’d be present for a few minutes before stepping aside for lukewarm heroes, but Foster is a full-timer here, hobbling between rooms in her comfy nurse outfit and continuously checking her tablet to keep tabs on patients. Brown makes for a charming robber with his straight talk and ease of swagger. Bautista is as likable as always even when he’s not showcasing his tattooed muscles. Armed with a slick and to-the-point script, all of the actors have a genuine nature to them, even for the understated performances of Jenny Slate and Jeff Goldblum.

Hotel Artemis has a bafflingly crowded assembly with too many plot irons are in the fire, an unfilled relationship between the remaining players, and an ending that I suspect may have been retooled with reshoots. But it’s firmly glued with a stellar cast in top form, dashes of dazzling sci-fi tech (including a brilliantly brutal misuse of a 3D printer), and an intoxicating atmosphere amplified by golden synth from Cliff Martinez. All of this makes the film an exhilarating original film that you certainly don’t see every Wednesday.


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