“Science is punk rock,” he enthuses before blowing up a school bus and facilitating the kids’ adventures, while his third-act character switch is a grin-plastering hoot.Ĭoon too excels, as a recognisable, harassed parent in the mould of Poltergeist’s JoBeth Williams, while Grace shows the kind of focus-pulling power she demonstrated in The Handmaid’s Tale. In Rudd’s capable comedic hands, he’s a foil providing much of the wonder in the face of 2021 cynicism. Part of that love of yesteryear is personified by Grooberson, a man old enough to be a Ghostbusters fan. The rest of the gang has been largely forgotten by the general public, which is why Egon’s grown-up daughter Callie (Carrie Coon) is unimpressed that she needs to sort out the affairs of her skip-the-nest Pa after being informed of his death. So where do we find team Ghostbusters now? Egon (Harold Ramis) has popped his clogs after years of living hermit-like in small-town Oklahoma, undertaking covert experiments at his ramshackle farm (seen in a truly spine-tingling pre-title sequence). It even manages to address some of the problematic sexism of the OG ’busters without relinquishing the spirit of the enterprise. Rather, this reverential reinvention hits the sweet spot of successfully intertwining origin lore with modernity. But breathe a sigh of relief: co-writer/director Jason Reitman (son of Ivan) hasn’t crossed the streams and invoke a cinematic total protonic reversal (otherwise known as shitting on the original). So it would be fair to approach Ghostbusters: Afterlife with the same caution you might employ entering the Sedgewick Hotel’s 12th floor.
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