When Callie’s penniless father (Carrie Coon) dies, leaving her with a dilapidated house in the middle of nowhere, she has no choice but to move in with her children, Trevor (Finn Wolfhard) and Phoebe ( McKenna Grace). Phoebe very quickly discovers that her grandfather was Ghostbuster Egon Spengler and that there are still a lot of ghosts not destroyed.
Restart or revamp a movie like ghost hunters is difficult. It’s not like trying to remake a horror, musical, or thriller, where you have a solid frame that you can just decorate with new ideas. With ghost hunters, you try to recreate a feeling. The joy of the original film was much less in the elimination of the ghosts than in the chemistry between the busters. You can’t just emulate that with a new cast, as the enjoyable but too smooth and self-aware reboot of 2016 showed. Jason Reitman is truly adorable. Ghostbusters: the afterlife doesn’t try to be exactly like the originals, made by his father, Ivan Reitman. A sequel-slash-reboot, it instead shoots for its own take on the wacky comedy and funhouse scare. It’s not quite the same as ghost hunters we know it, but it is quite feels As ghost hunters.
The focus is on Callie (Carrie Coon) and her two children, Trevor (Finn Wolfhard), your 15-year-old classic who would like to quickly grow to 18, and Phoebe (McKenna Grace), a 12-year-old girl. old lonely scientist genius. Callie is the daughter of Egon Spengler, the smartest Ghostbuster, which is not a source of pride. He abandoned her when she was a child and went to live in a rickety old house on the edge of a sleepy town. When Egon dies, he leaves Callie this house. Having no money to live elsewhere, she takes the children to start a new life in Summerville, Oklahoma.
Summerville is a place that is still slowly emerging from the 20th century. The main social hub of the city is a drive-through restaurant. The local school still uses VHS. The cinema shows the horror of 1973 Cannibal girls (director: Ivan Reitman). It all gives off a feeling of nostalgia that isn’t overly cute, but makes this movie feel like its own little world, a far cry from modern technology and wry, wry humor. It helps you get back to the feeling of watching movies when you were a kid, when it could have been. The “real world” seems far away and anything can happen as these kids set off in search of their own entertainment.
Reitman wrote Life after death with Gil Kenan, 2006 animation director Monster house. Kenan is an inspired employee. The tone of Monster house, a real horror film for children, with big laughs and little scares, that’s exactly what Life after death Needs. As Monster house, it has an attractive misfit cast and plenty of moments that won’t cause nightmares but send goosebumps on your skin. The smartest writing choice the couple make is to set the story in a city that feels like the past.
It’s not quite the same as the Ghostbusters we know, but it looks entirely like Ghostbusters.
The movie has a lot of fun before the ghosts appear, with Phoebe and Podcast walking around town, playing with proton packs, forging a friendship based on mutual strangeness. When the ghostly action really begins later, you can feel the thrill of Reitman, the enthusiasm of a man who has known ghost hunters since he was six years old. He uses the same modest staging style as his father. Few flashy shots, but a lot is happening on the screen. Many of its effects have an 80s-style simplicity, but subtly. Some of his ghosts appear to be puppets, not CGI, and he knows the frightening power of a bit of dry ice and colored light. He is rich in affection for his source but excited about new ways to play with it.
Of course, Phoebe discovers her grandfather’s true identity, stumbling upon some strange equipment in the basement and discovering a supernatural threat that could destroy the world. As the plot unfolds, it is full of things for fans to do, but the flashbacks are secondary to the story of the new characters. And they are great characters, all perfectly interpreted, with strong chemistry. Finn Wolfhard brings the necessary warmth to the arrogant role of older brother. Logan Kim as Podcast, Phoebe’s all-documenting classmate, is like a fun-sized John Candy. Mckenna Grace, however, is the heart of the film. In her supernatural hands, Phoebe is a calmly fearless child who is fascinated by anything she doesn’t understand, be it gadgets, ghosts, or people. Grace uses nuances from the late Harold Ramis performance as Egon, but with a rebellious streak of her own.
There are holes you can choose from: there are a few plot points that seem under-explained. The fourth new Ghost Hunter, Lucky (Celeste O’Connor), isn’t very fleshed out. For a film titled ghost hunters it’s pretty light on ghosts. But that gives very little reason to want to dig these holes. It’s always fun, inventive and charming. If you’re worried that Jason Reitman’s film will sully the legacy of his father’s greatest creation, there’s nothing to fear.
While full of love for the originals, Jason Reitman’s film firmly establishes its own new generation. On the potential here, Ghostbusters still has a lot of life left.