Ghostbusters: Afterlife

Director: Jason Reitman
Starring: Carrie Coon, Finn Wolfhard, Mckenna Grace, Paul Rudd, Logan Kim, Celeste O' Connor, Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts, Sigourney Weaver, Bokeem Woodbine
Running Time: 124 min.
Rating: PG-13

★★ ½ (out of ★★★★)

After waiting decades and surviving the ill-fated 2016 reboot, many fans have long wondered what an actual Ghostbusters sequel would look like. Jason Reitman's Ghostbusters: Afterlife isn't exactly that, and the fact it doesn't misrepresent this can be viewed both positively and negatively depending upon your perspective. But the biggest surprise is it doesn't seem much like a Ghostbusters film at all, at least until it eventually tries too hard to be. And if someone were to be blindly seated in front of their screen and asked to speculate what this was, they'd probably say it was the first episode of the upcoming fourth season of Stranger Things. While that inspiration was evident in the trailer, little can prepare you for just how much the film resembles that Netflix series, nearly qualifying as a certified spin-off. 

At first glance, all of this seems like a great idea, if not for the nagging reminder that we've desperately wanted a second Ghostbusters sequel for so long that it almost feels like we're doing this just to get it out of the way. But if anyone can do it, Jason Reitman (son of the original's director, the late Ivan Reitman) would be the ideal candidate, despite it being the kind of escapist entertainment he's consciously avoided dabbling in for much of his career. Within its genre and entering with the barest of expectations, this is a fun, entirely predictable and obvious entry into the franchise's canon, even if you can argue we're not truly given what we came for until the final minutes. And by that point, it tracks so closely with the 1984 film that it could be mistaken for a full-blown remake, only with different actors in the roles. 

If the female-lead 2016 reboot was justifiably criticized for its gimmicky casting (though the real problem was always more about whom they chose and the execution), it's only fair to examine a similar call here by Reitman to cast an all kids team. While the intent is clearly to establish the next generation characters to carry the franchise forward, that's assuming it won't take another thirty years to get another one made and again convince the originals to return, especially the notoriously picky Bill Murray. And what would that film even look like? This doesn't offer many answers, as the casting decision was obviously intended to reel in younger audiences and get this particular project made and released now. Well, that worked, even while this doesn't quite fit the spirit of how the franchise was originally envisioned, or more importantly, where it could have possibly gone.

It's June 2021 and original Ghostbuster Egon Spengler has recently passed away, attacked by a creature at his desolate farmhouse in Summerville, Oklahoma. When his estranged, financially struggling daughter Callie (Carrie Coon) inherits the farm after she and her kids Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace) are evicted from their Chicago apartment, they try to acclimate to their new surroundings. While the reclusive Egon was known locally as the "Dirt Farmer," his decaying residence can best be described as post-apocalyptic in appearance, further fueling Callie's resentment toward her late father, whom she feels abandoned her as a child. 

Phoebe adjusts the best, enrolling in a summer school program taught by seismologist Gary Grooberson (Paul Rudd) and making a new friend named Podcast (Logan Kim). Meanwhile, Trevor becomes infatuated with local drive-in restaurant waitress, Lucky (Celeste O' Connor), prompting him to take a job there. But when Phoebe discovers the farmhouse is haunted and learns more about her grandfather's legacy from Gary, it soon becomes obvious that Egon was onto something huge happening in town. Upon locating his underground lab, equipment and even the dormant Ecto-1 Cadillac, Phoebe, Podcast and Trevor must get to the bottom of what's causing this seismic supernatural activity, bringing them face-to-face with an indescribable evil lurking beneath Summerville's mysterious underground mine. 

Reitman takes his sweet time introducing the characters and situation, putting us far ahead of the central players in terms of grasping this family's current connection to the supernatural occurrences in New York City thirty years prior. It's almost about halfway through the film until those events are openly acknowledged (via YouTube no less) and that kind of works since Reitman already has a knowing and willing fanbase at his disposal that doesn't need anything spelled out for them. Most of the trailer took care of that anyway and he's in the rather fortunate position of being able to postpone the payoff as long as possible, spending most of the time building the story before blowing the roof off in the last act. The  character-centric shenanigans, while predictable and sometimes overly cutesy, is mostly a success, especially when it comes to the more emotional story arc of Callie's bitterness toward her late father and how it's affected the relationship she currently has with daughter Phoebe, an awkward, self-professed science nerd. 

Carrie Coon gives the film's best performance as this single, frazzled mom in over her head and broke, still suffering as a result of her father's tainted legacy, but determined to be the parent she thinks he wasn't. Reitman and co-writer Gil Kenan have a really good idea there and when that's front and center is when the picture's at its best, most notably in the final minutes. Grace McKenna is basically the lead, and while it's easy to question the reasoning behind having a tween character carry this, she's very believable as Spengler's quirky, likable granddaughter. The realization of who he was and how it helps her see what she could be is well handled, a standout amongst lesser scenes of the kids busting ghosts. And given screenwriters' recent obsession with podcasting characters, it was only a matter of time before we actually got one named "Podcast." Logan Kim's fun in the part, but when his supporting role is elevated to a co-lead, it's hard to argue that his goofy charms didn't work better in smaller doses. 

It's a bit jarring to see these kids with a proton pack and ghost trap, stepping into such iconic, identifiable roles even if they aren't necessarily being touted as "replacements" for the original actors who are now too up in years to carry this again.  Stranger Things' Finn Wolfhard already briefly wore the uniform on that series so you have to wonder if Reitman cast him as a deliberate attempt to further incorporate the tone of that show. He acquits himself fine, even if the sub-plot involving his crush on Lucky seems thrown in and doesn't really land. Paul Rudd is entertaining as usual in what can best be described as an oddly written science teacher/seismologist character who shows horror movies in class and bonds with the kids, while also trying to woo Callie. There's enough going on with this guy that he comes off as a composite of multiple characters, but Rudd is Rudd, so that helps.

The special effects and CGI are top notch, and while some have complained, the mini Stay Puft marshmallow men are a clever touch that calls back to the '84 film in much the same way a new ghost nicknamed "Muncher" does, making for a suitable Slimer stand-in. While it's not exactly a well kept secret that Bill Murray, Dan Aykroyd and Ernie Hudson all respectively return as Venkman, Stantz and Winston (along with Annie Potts' Ghostbuster secretary Janine Melnitz and Sigourney Weaver's Dana Barrett), the nature and extent of their roles vary some (Weaver's basically non-existent). No one's likely to be disappointed, as the core three are mostly back at the top of their games, with Aykroyd arguably turning in one of his more memorable recent supporting turns as Murray and Hudson smoothly slide back into their parts as if no time has passed. 

Its last act most feels like a Ghostbusters movie, both for better and worse. The performances are a highlight (including a great but uncredited Olivia Wilde as Gozer), as is the emotional payoff involving the late Egon and his family. In terms of providing fan service, Reitman's approach is to basically recreate the original's ending with a new cast, with Coon and Rudd's purpose becoming distractingly familiar. Viewers are put in an odd position when the entirely new touches are hit or miss and what's faithful to the original is almost too slavishly faithful, resulting in another one of those soft reboots that straddles the fence in not wanting to alienate anyone. Stranger Things aside, Close Encounters of the Third Kind is also a noticeable influence, so when you throw some of that in there it's all kind of a mess, albeit not an entirely uninteresting one.

The first Ghostbusters is largely thought of as an action comedy appealing to kids and nostalgic adults with a key difference being that 11 and 12 year-olds weren't the leads. But at least Afterlife prevents embarrassing The Karate Kid remake comparisons by leading with a multi-generational story that elicits high quality work from the young actors despite a questionable conceit. The movie is slick, well made and probably the nearest of near-misses, but it's arguably more effective as a Harold Ramis tribute than a Ghostbusters entry, at least in terms of whatever we now perceive that to mean.