Review of “Ghostbusters: Afterlife”

Have you ever had a family member that was difficult to be around? I had one that I won’t name despite her being dead for nearly a decade. She never had children but didn’t mind telling everyone how to raise theirs. No place was as nice or as well run or as friendly as the city she and her husband lived in. Once she got a computer, I and other family members would receive emails about conspiracy theories and spam we needed to forward so Microsoft could test their email platform and for our help, Bill Gates would pay each of us $5.00! I explained to her several times these were fake and a quick Google search would verify that. Of course, a quick Google search will also show you millions of other conspiracy theories and, to borrow a phrase, fake news. I kept my contact with this relative to a minimum for this and other reasons, and feel bad about that as she died alone, far from any family. For me, keeping a distance from toxic relatives is the best for my mental health. Separating from family is a big part of “Ghostbusters: Afterlife,” but it’s for the good of the extended family and the world.

Callie (Carrie Coon) is a struggling single mother in a big city. She has two children, Trevor and Phoebe (Finn Wolfhard and Mckenna Grace), and very little money. Evicted from their apartment, the family moves to the recently vacated home of Callie’s absent father who recently died. The farm in the middle of nowhere in Summerville, Oklahoma, is run down and littered with junk cars and dilapidated out buildings. Trevor finds a job at a local diner in order to get close to one of the waitstaff, Lucky (Celeste O’Connor), while Phoebe is starting a summer school science class. Phoebe makes a friend with a kid nicknamed Podcast (Logan Kim) and is taught, loosely speaking, by Gary Grooberson (Paul Rudd). Exploring the house, Phoebe finds an underground laboratory belonging to her grandfather. She is also being guided by the spirit of her dead grandfather, Dr. Egon Spengler, a Ghostbuster. Summerville is plagued by earthquakes despite not being near a fault line or volcano. Egon moved to this town for a reason, bringing much of his ghostbusting equipment with him. But his departure fractured the team. Is there a chance a new generation of Ghostbusters can defend Summerville and the rest of the world from a possible phantom apocalypse?

Director and co-writer Jason Reitman was walking a fine line by resurrecting the Ecto-1, proton packs and ghost traps for “Ghostbusters: Afterlife.” One need only look at the all-female 2016 “Ghostbusters,” directed and co-written by Paul Feig. The hate for that film began a year before it was released, fueled by misogyny and Internet troll angst over someone messing with the sacred cow of 1984’s original. The 2016 film had its issues (I enjoyed it) but didn’t deserve the hate it received. Jason Reitman has the benefit of being the son of 1984’s “Ghostbusters” director Ivan Reitman. He also understands what the crowd for this film wants is a loving, if slavish, tribute to the original characters and story of the first film. Jason Reitman delivers for the fans.

Much like the story of “Star Wars: Episode VII – The Force Awakens” rehashes the events of “A New Hope,” “Ghostbusters: Afterlife” reaches back to the original film for the most of its story. That isn’t a problem for me as it’s not revealed right off the bat. Reitman and co-writer Gil Kenan take the time to introduce our new crew of reluctant Ghostbusters as they acclimate to their new surroundings. Expecting to be bored to death, Trevor and Phoebe quickly make friends. The younger Phoebe appears to be on the spectrum as she talks about not expressing her emotions on the outside and is encouraged by her mother to try being more outgoing to make friends. This works with the quirky Podcast who makes a podcast that has only one subscription and, according to the young man, really finds its voice in episode 46. The characters are a collection of misfits and outcasts that eventually makes a team and a family of their own, much like the original crew did almost 40 years earlier.

Some of the critics are slamming the film for being a shameless appeal to our need for comfort and familiarity, mining the goodwill of the original two films. While it’s not the most original movie to be released this year, “Ghostbusters: Afterlife” is like a warm blanket, wrapping the audience familiar with the originals in all the good feelings of those films while giving us a new set of characters to know and love.

Stealing most of the scenes he’s in, Logan Kim’s Podcast is a delight. He’s written far more smartly than his youth deserves, and I didn’t care. He’s a breath of fresh air in what could have been a dull and morose coming of age story with some ghosts and demons thrown in.

I also enjoyed Mckenna Grace as the smart and awkward Phoebe. Her fearless pursuit of knowledge and willingness to fight for her beliefs is a rare example of a strong, young female role model. Phoebe doesn’t need weapons or martial arts to express her strength. Her mind is her best weapon, and she wields it to protect her family. It’s a sweet and powerful performance.

Carrie Coon and Paul Rudd are both great. Coon plays Callie as bitter towards her absentee father and her lot in life but loving toward her children. She can be biting and sarcastic but quickly warms when her kids are involved. Paul Rudd is very Paul Rudd; sweet, charming, goofy and funny. It’s not going to win him an acting Oscar, but Rudd is very watchable in the film.

The effects are a combination of practical and computer generated, and they all look great. They are designed to look like the original movies, and it adds to the feeling of nostalgia. The music is also reminiscent of the first films, with many of the themes from Elmer Bernstein’s original score and Ray Parker, Jr.’s “Ghostbusters” theme song used. Many aspects of the film are designed to remind you of the originals. It might be manipulative, but I found it entertaining.

“Ghostbusters: Afterlife” is rated PG-13 for supernatural action and some suggestive references. This isn’t a Blumhouse film, so there’s not much scary about the spirits, demons and monsters shown in the film. They are only frightening by implication. The suggestive references are very mild. There is some scattered mild foul language.

There are a few things I found puzzling about “Ghostbusters: Afterlife.” Phoebe understands the workings of a proton pack despite only discovering it seconds earlier. Gary tinkers with opening a sealed ghost trap despite knowing all about the Ghostbuster’s adventures in New York City in 1984 and knowing there’s probably something evil inside it. Everyone seems far to calm about the weirdness going on in Summerville despite the sudden appearance of ghosts and demons. I could go on, but this falls into the category of me thinking too much about stuff. I know this film isn’t perfect, but I found it entertaining. It makes a strong play for fans of the original films while setting up a possible continuation of the franchise. In that regard, the film has a mid-credits and a post-credits scene. One is pure fan service, while the second suggests there’s more to come. Only time, and the box office, will tell if there’s still life in the spirits of the dead, and if bustin’ still makes you feel good.

“Ghostbusters: Afterlife” gets four stars out of five.

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Review of “The Goldfinch”

Theodore Decker (Oakes Fegley as a 13-year-old, Ansel Elgort as an adult) has suffered numerous tragedies in his life. His father, Larry (Luke Wilson), was a drunk with dreams of being an actor and abandoned his family. His mother was killed in a terrorist bombing at a New York City museum. For a time, Theo lives with the Barbour family. Mrs. Barbour (Nicole Kidman) is a bit cold and distant at first but warms to having Theo around. The Barbour’s are considering adopting Theo when Larry shows up with his new wife Xandra (Sarah Paulson) and moves his son out to Las Vegas. There, Theo meets Boris (Finn Wolfhard), a wild young man from Ukraine that lives with his abusive father. When another tragedy befalls him, Theo runs away, returning to New York City to live with Hobie (Jeffrey Wright), a restorer of antique furniture he met after his mother’s death. Theo grows into an intelligent and charming young man, but he always has a cloud hanging over him from the chaos in the museum that isn’t just the loss of his mother.

Based on a novel of the same name, “The Goldfinch” is a sumptuous and beautifully shot film. It is filled with loving looks at classic paintings, antique furniture, lavish New York apartments, the desolate wasteland outside Las Vegas, the aftermath of a bombing and the near-perfect structure of Ansel Elgort’s face. For all its beauty and technical mastery, “The Goldfinch” lacks any guts. It provides all the makings for both a fascinating mystery and searing character drama yet ignores all its gifts in exchange for atmosphere and style. The movie wants you to be so dazzled by the visuals, you’ll ignore its fatal flaw: There is no “there” there.

That isn’t to say the film has nothing entertaining about it. Ansel Elgort puts on a master class in creating a character that has numerous layers implied in his performance. There’s a sense of danger in the adult Theo. He is broken by the loss of his mother, his feeling of guilt, the betrayal by his father and the choice he made in the museum. Elgort’s performance is nuanced and subtle, while also being complicated. I was never sure if Theo was ever telling the truth at any time. Usually he was, however, he is shown being capable of defrauding people. Does he treat everyone this way? I was never sure.

Elgort is turning very little story into a wonderful performance. The script from Peter Straughan is long on reaction shots and short on meaningful interactions. There are numerous thoughtful stares and quiet, emotional closeups as Elgort and others in the cast are getting their hearts broken or wearing them on their sleeves. Some of these scenes are affecting, but they lack any real punch since the movie spreads all the meaningful events so thin. It drops a few tidbits here and there to suggest something interesting is around the corner. Finn Wolfhard’s Boris (played as an adult by Aneurin Barnard) coming on to the scene introduces Theo’s dangerous side with his use of drugs and alcohol at odds with his cultured and conservative demeanor. These vices increase into adulthood with Theo crushing up pills and snorting them to dull the pain of his past. All of this implies a person on the edge of self-destruction, yet we don’t feel the danger of Theo’s lifestyle as it is always shown with a veneer of perfection. The filmmakers want the beautiful people to stay beautiful at all costs.

The movie has a listed running time of two hours and 29 minutes. There is probably a very good movie buried under the mountain of long, silent stretches. It feels like at least 30 minutes could be trimmed, if not more. While the film held my interest and I wondered what would happen next, I ultimately found the ending of the movie to have been a long, beautiful and boring ride. I didn’t know what to expect, but I expected more than I got.

“The Goldfinch” is rated R for drug use and language. Theo and Boris still some pills, crush and snort them. They also trip on LSD. They are shown drinking beer and smoking when both are underage. The pill snorting continues as Theo is an adult. Foul language is scattered.

Ansel Elgort, Oakes Fegley, Finn Wolfhard and Nicole Kidman are standouts in a cast that is filled with very good actors and performances. It is a shame all their efforts are wasted on a film that takes two and a half hours to go almost nowhere. I don’t know if it’s the fault of the novel the film is based on or the interpretation of that novel to a movie script. Wherever the fault lies, “The Goldfinch” is a lost opportunity to create both a compelling mystery and a deep psychological drama. I wanted so much more as the minutes ticked by, but all I got was a very slow train passing by with the occasional boxcar having mildly interesting graffiti.

“The Goldfinch” gets two stars out of five.

My wife and I do a podcast called “Comedy Tragedy Marriage.” Each episode, one of us picks a movie, we watch it together then talk about it. It’s available on all the major podcasting platforms. Please give it a listen.

This week, I’ll be reviewing “Rambo: Last Blood” for WIMZ.com.

Also opening this week:

Ad Astra—

Downton Abbey—

Follow me on Twitter @moviemanstan and send emails to stanthemovieman123@gmail.com.

Review of “IT”

Bill Denbrough (Jaeden Lieberher) is dealing with the mysterious loss of his little brother Georgie (Jackson Robert Scott) with the help of his friends: Richie Tozier (Finn Wolfhard), A.K.A. “Trash Mouth” Tozier, Eddie Kaspbrak (Jack Dylan Grazer), a sickly boy that can’t go anywhere without his inhaler and Stan Uris (Wyatt Oleff), a germaphobe preparing for his bar mitzvah under the glaring eye of his rabbi father. Constantly under threat of a beating by a gang of bullies lead by Henry Bowers (Nicholas Hamilton) that calls them the Losers Club, Bill and his buddies are just trying to navigate school and deal with the traumas going on in their lives. Soon to join their group is Ben Hanscom (Jeremy Ray Taylor), the “new kid” that has no friends but has the wrath of the bullies in common with the Losers Club. He has a crush on Beverly Marsh (Sophia Lillis), a girl that is rumored to be the school tramp but really is living a different kind of hell with her abusive father. The most outside of the outsiders is Mike Hanlon (Chosen Jacobs), an orphan living with his grandfather and working on his sheep farm. Mike is homeschooled and is one of the few African-Americans in Derry. This draws particularly violent attention from Bowers and his bully friends. But the scariest thing in Derry is an ancient evil that lives in the sewers and comes out every 27 years to feed on the flesh and fear of children: His name is Pennywise the Dancing Clown (Bill Skarsgard). Pennywise takes on the appearance of a clown to lure children in close so he can collect them. He ripped Georgie’s arm off before dragging him down into the sewers. Now more children are going missing and no one knows what to do about it or who will be next. Investigating Georgie’s disappearance, Bill has put together that whatever is killing the kids of Derry, it travels through the sewers. He also learns he and his friends have all seen Pennywise and been threatened by him. Bill wants to find it and kill it.

Based on Steven King’s book of the same name, “IT” was brought to life in a 1990 two part TV movie starring Tim Curry as the clown. For the time, it wasn’t half bad. It had a fair number of known TV actors playing the grown-up versions of the kids in a final showdown with Pennywise. While it had limitations of special effects and a TV budget the four hour production did find an audience and a place in my memory. Now director Andy Muschietti has more money, digital effect and more time to devote to a more faithful telling of the story of a killer clown preying on the children of a small town. “IT” is a sizable improvement over its TV ancestor.

The best part of the film is probably the ensemble cast of terrific young actors making up the Losers Club. From top to bottom, the entire group is perfect. The standouts are Finn Wolfhard as Richie Tozier and Jack Dylan Grazer as Eddie Kaspbrak. Wolfhard’s Richie is the kid that tries too hard to be the leader of the group when everyone knows he’s not it. Richie wears thick glasses and has the mouth of a horny sailor. Dropping inappropriate insults and one-liners like bad habits, Wolfhard is certainly the most entertaining member of the group.

A close second is Grazer’s Eddie. A hypochondriac with an overprotective mother, Eddie is constantly on the lookout for anything that might make him sick. The rundown of everything in the drainage tunnel that likely will give him some sort of infection is hilarious; particularly since much of the medical information he spouts is wrong. He tells a long story of how a friend of his mother’s told her about a friend of his that caught AIDS from the pole of a subway. He becomes more and more frantic as his get deeper into the story and the misinformation just keeps growing. While all the kids are great these two really stand out.

What also is impressive about the young cast is their depth of emotion in dealing not only with the threat of Pennywise but the dangers within their own families. There isn’t a missed beat or out of place reaction as we get brief looks inside the lives of almost all the kids. Most troubling of course is Beverly and her sexually abusive father. While nothing is shown on screen, it is clear there is something inappropriate about the way her father touches and talks to his young daughter. We don’t know where Beverly’s mother is or why she isn’t around but clearly there is something out of whack about this household over and above their poverty. Sophia Lillis shines in these dark scenes as she tries to sneak past her father, hoping he won’t notice she’s there. Starting the movie with long hair, Beverly cuts it short in an act of defiance and an effort to make herself look less attractive to her father. It is at once both a heartbreaking and liberating scene as she takes a pair of shears to her long auburn locks. None of the children in the story have easy or perfect lives and the cast is able to bring a surprising amount of depth and maturity to these complex roles.

Another interesting aspect of the film is how all the adults seem to be just a little off. There’s a creepy pharmacist that’s a little too greasy and blond and takes too much of an interest in Beverly. Eddie’s mom is sedentary, very overweight and requires too much attention from her own son. There’s a library worker lurking in the background behind Ben taking too much of an interest in the boy. The local cop lurks around too much and is clearly abusive to his son that happens to be the leader of the bullies. Bill’s dad is distant and doesn’t want him to continue investigating Georgie’s disappearance. None of it is over-the-top but there’s something not right about nearly every adult character we see.

Of course the most not right character of them all is Bill Skarsgard’s Pennywise. Skarsgard is an energetic killer clown often dancing or hopping or twisting himself into and out of difficult shapes. His voice is screeching at times and soothing at others. When we first meet Pennywise he’s talking to Georgie from a storm drain in the street. He’s smiling and seems friendly but you notice drool dripping from his mouth and his glowing red eyes. It isn’t long before Pennywise shows his true colors, and his mouth full of jagged sharp teeth, and rips Georgie’s arm off then drags him into the sewer. Even though you know something bad is going to happen (it must since this is the first few minutes of the movie) it still comes as something of a surprise when Pennywise’ mouth opens overly large and row after row of teeth is exposed, quickly clamping down on Georgie and sealing his fate.

Director Andy Muschietti uses Pennywise sparingly but effectively. It feels like Pennywise is in every scene but he disappears for long stretches of the movie only to pop back in briefly to try and eat one of the Loser’s Club. Muschietti digitally centers the clown’s face in a couple of scenes so no matter how he moves his face is always the focal point of the image. It’s an effective technique that keeps the audience centered on that malevolent mouth and the damage it is waiting to inflict on its next victim. Pennywise manages to be both terrifying and interesting and we may get to learn more about him in the sequel.

“IT” is rated R for language, bloody images and violence/horror. We see the aforementioned biting off of Georgie’s arm. A character has a capital “H” carved in his stomach with a knife. Various people are shown in various states of decay. Several people are shown being hit by rocks. A woman from an impressionist painting comes to life and threatens one of the children. A man described as a leper is shown with oozing face sores. A person is shown getting their throat stabbed by a knife and bleeding profusely. A person is shown being smacked in the head with a toilet tank lid and bleeding a great deal. A bathroom sink begins gushing blood out of the drain. A character is shown being impaled with an iron bar a couple of times. Foul language is common throughout the film.

A second chapter is coming. The enormous opening weekend box office for “IT” means a sequel is already being worked on. This film will likely focus on the adult versions of the kids coming back to Derry to face off with Pennywise in a battle to the death and, if reports are to be believed, we’ll also learn more about the history of the clown. I hope we get a flashback as I’d like to see the kids again because they are such good actors. Everyone watching the film will likely see themselves or someone they know in the characters. While “IT” may not be the scariest movie ever released it works as a film that has memorable characters behaving in a way that is relatable and believable. It is a minor miracle that “IT” works on so many levels.

“IT” gets five stars.

This week I’ll review “American Assassin” for WIMZ.com.

I’ll also review one of the following for this webpage:

All I See is You—

Mother!—

Listen to my podcast The Fractured Frame where each week a couple of friends and me talk about movies. It’s available everywhere you get podcasts and on WIMZ.com. Follow me on Twitter @moviemanstan and send emails to stanthemovieman123@gmail.com.