Ghostbusters: Afterlife

A family struggles financially and is forced to suddenly relocate, an estranged relative having recently passed but not without having left them his eccentric land.

They make the chaotic move and soon must adjust to small town life, the teenagers somewhat grouchy at first until serendipity inspires motivation.

Curiosity inquisitively roams and there's an abundance of toys on the farm, some of them socioculturally familiar in terms of old school narrative phenoms. 

Mom soon finds herself amorously pursued by her daughter's lackadaisical comic teacher, while her son looks for work at a diner with the happenstance hopes of dating the waitress.

Meanwhile, ye olde particle-accelerator is awkwardly discovered in a secret chamber, and ghosts are spotted nearby who require electronic sequesterization. 

They take the old ghostbuster mobile for a reanimated spin around the sleepy town, leaving quite the mischievous mess as they chase the frenzied febrile phantom.

They have a certain knack for ghostbusting even if trouble ensues enthusiastically however.

Being Egon Spengler's grandchildren!

Without having lost the archaic touch.

I have to admit, this style of filmmaking seemed endearingly familiar, and I found myself wanting to watch the film in one go instead of splitting it up into 2 nights.

It was like that old Ghostbusters magic had been rediscovered by the next generation, and although I don't really recommend making sequels decades later, this one worked well, intergenerationally speaking (still hoping for another with the all female cast). 

Of course ghostbusting can't stray from the horrors of cynical dismissive trajectories, the public school an unfortunate gong show, with no genuine leadership, it was tough to watch (they have good public schools in Canada and Québec [higher taxes]).

And dispiriting, I know it's just a comedy film that makes light of serious realities, and that systemic critiques are wincingly welcome to avoid too much hyper-reactive self-obsession, but teaching is an incredibly difficult job as I've mentioned before several times, another layer of obtuse scrutiny only adds to the associated difficulties (YouTube is making it impossible to get through to some kids). 

I like to watch both comedies and dramas so the uptight cynicism never sets in, instead the tragedy associated with progressive endeavours becomes much more sublime and worthwhile correspondingly.

I think for a lot of people it's generally one or the other however.

Don't sell yourself short, take the well-rounded approach.

Take another look around at what we've achieved. 

Ghostbusters

I don't see anything wrong with casting women as the new ghostbusters.

That's the fun thing about remakes, you switch up the story and the genders and the races or ethnicities to ensure that the reimagination comments on contemporary issues, rather than just presenting a facsimile of the original, whose origins themselves are likely hotly debated, thereby keeping the narrative fresh, while jump starting sociocultural synergies.

There's something to be said for respecting traditions as well, but as the centuries pass these liberal and conservative vice versa visualizations forge a compelling multiplicity that encourages vibrant critical controversies.

Liked the film.

The script lacks at least one feature that ironically made the original so realistic, the fact that the ghostbusters took huge risks to start their business, and then proceeded to take steps to in/flexibly run it, affectively pulling you into their audacious exterminating antics with hectic supernatural commercial conviviality, the new one focusing less on entrepreneurial aspects and more on interpersonal relationships, a different approach, but it still never seemed like their business could fail, or make any money either, although it did seem like friendships could be re/built through the productive art of constructive team building.

The interpersonal relationships of the four hilarious heroines do draw you in with kinetic displacements and undulating sorority, they're written quite well and engagingly invigorate the active material with knowledgable grit and practical pugnacity, the best of the best living up to the challenge, impressive, conducive, calico, they had an incredibly tough act to follow and at times even take the lead, regenerative calisthenic conversations, tally-ho, which remain loyal to the franchise's republican origins.

Grrr.

There's contempt for different levels of academic rigidity within, obviously the supernatural is real, the principal villain values the dedicated impeccable labours of hard working honest Americans, when African American ghostbuster Patty Tolan (Leslie Jones) jumps off a stage no one catches her, the ghostbusters hire their secretary solely because he's good looking, the ivory trade is unforgivably referred to nonchalantly, nuclear energy is highly valued as an available technology ripe for non-regulated experimentation, ethnic slurs are callously dished out, and none of the brilliant perspicacious female ghostbusters has been able to find a partner.

Classic form, alternative Ghostbusters.

What else, yes, they slowly encounter different ghosties as the narrative unreels and during the climax end up battling those very same ghosties.

Different ghosts people, different ghosts, a cataclysmic apocalyptic (Hollywood's big on the Apocalypse this Summer) fissure has opened up in New York City unleashing thousands of ghosts and the ghostbusters end up fighting the same ones they fought earlier in the film.

Laziness, especially considering the remarkable creative opportunity the writers and special effects peeps had there.

Nevertheless, the film's worth checking out.

If you like strong comedy executively executed by leading American comics, I don't see why you wouldn't like this film.

It's not the gender that matters, but how well the individuals play their respective roles, and how well those roles are resoundingly written.

Kirsten Wiig (Erin Gilbert), Abby Yates (Melissa McCarthy), Leslie Jones, and Kate McKinnon (Jillian Holtzmann) perform remarkably well.

And deserve total respect.