Ghostbusters

Some call it sacrilege. Some call it a feminist ploy. Some say that the hallowed original from 1984 has somehow been tarnished or desecrated as if it were some work of art held to a higher level of reverence than say, “Total Recall”, “Robocop”, or “Judge Dredd”. We live in a cinematic age where originality isn’t profitable unless a name like James Cameron is attached. Reboots, superheroes, young adult fiction adaptations, sequels, and disaster films rule the roost. Incredibly, eighteen of the top twenty-two highest grossing films of all time are franchise sequels, reboots, or spinoffs (boxofficemojo.com). “Titanic”, “Avatar”, “Frozen”, and “Jurassic Park” are the exceptions by the way (and a whopping sixty-eight of the top one hundred are sequels, reboots, or spinoffs).

The fact that “Ghostbusters” is an all-female cast, and comes thirty-two years after the original in no way diminishes its value. Set as a true remake with familiar plot, archetypes, and spooky, comedic spirit as the original, I see it as capitalist homage; an opportunity to take a cherished and beloved brand, and bring it in to the twenty-first century with a fresh, new look. There will be sequel(s).

Erin (Kristin Wiig) and Abby (Melissa McCarthy) headline as the Aykroyd and Ramis characters, while Patty (Leslie Jones) and Holtzmann (Kate McKinnon) are Hudson and Murray. If you didn’t follow that last sentence, you probably aren’t a fan of the original, in which case you might not get the numerous references and cameos that further pay tribute to the original. “Ghostbusters” is a who’s who of “Saturday Night Live” and “MADtv” alumni that add what must have been a good deal of improvisation to the witty and sharp dialogue and physical comedy.

Wiig and McCarthy sadly have had their fifteen minutes of fame. They rely on the same old shtick, which has its moments, but is a bit overdone and took away a little from the real joy; McKinnon and Hemsworth. McKinnon’s character is ripe with Bill Murrayesque lines and idiosyncrasies. She is the beating heart of the team of ghostbusters and keeps this film on its game even though on paper this is the Wiig and McCarthy show. Hemsworth is hilarious as Kevin, the beefcake receptionist. His idiocy is so absurd that it is laugh-out-loud funny and shows a side of him that we haven’t really seen before. He shouldn’t quit his day job (Thor), but has more range than I would have given him credit for, although the writers and director certainly had a lot to do with that.

Director Paul Feig (“Bridesmaids”, “The Heat”, “Spy”) has a successful relationship with McCarthy vehicles since her scorching foray on the scene in “Bridesmaids”. He is squeezing every last drop of comedy out of her, and I would say she’s just about dry. As long as her films make money, I am technically wrong, but her humor is getting a little stale for my taste. His films will likely find the audiences shelling over their cash, but I would like to see him step out of his wheelhouse and try something a bit less predictable.

Written by Feig and Kate Dippold (most notably “Parks and Recreation”), the plot is cookie-cutter, but as a remake, the job is mostly done for them already. The dialogue and characters are the meat of the film and with quick pacing, iconic cameos, and a fun atmosphere, it was a recipe for success.

We get to relive the glory days with some pretty awesome cameos, but the one I was hoping to see just didn’t make his appearance. I’ll give you a hint; he’s the key master and he accidentally shrunk his kids once upon a time. Anyhow, you will be pleasantly surprised at the comfort and familiarity of the story. I found myself smiling quite a bit, and although it did go on a bit too long, the visual effects leave the original in the dust. There is something to be said about nostalgia, cheesy effects and all, but the new “Ghostbusters” truly is improved in many ways. I loved the original, but I was pleasantly impressed with this new look. 7/10