Ghostbusters: Frozen Empire (2024)

Ghostbusters is forty years old now. Forty years old. It is, in my view, an enduring classic, and one of my favourite blockbuster comedies. And yet . . . the fact that it IS now forty years old makes it all the stranger to see how much of it is repeated and/or repurposed in this latest release, officially the fifth movie in a franchise that has maintained a presence in our pop culture thanks to the various movies, videogames, toys, cartoons, etc.

FIRE STATION!

There is probably a right way and a wrong way to write a proper review of Ghostbusters: Frozen Empire, but I hope doing things in the wrong way will highlight how the film itself was so mishandled.

SLIMER!

Some time has passed since the events of the last movie. Our main characters (played by Finn Wolfhard, Mckenna Grace, Paul Rudd, and Carrie Coon) are now based in New York, much to the chagrin of the current mayor (played by William Atherton, reprising the character of Walter Peck, of course). But the containment system is perilously close to being overloaded, a big new threat is looming, and the character played by Grace ends up spending a lot of her time with a friendly ghost (Melody, played by Emily Alyn Lind).

LIBRARY GHOST!

Co-written once again by Gil Kenan and Jason Reitman, with the former also being allowed to direct this time around, it’s easy to see why certain choices were made here, and just as easy to see how this film could have been greatly improved. It’s too busy creating moments that will remind you of the first movie that it forgets to make good use of most of the main characters, and the decent finale is a case of too little too late when viewers have slogged through the mess preceding it.

DAN AYKROYD!

There’s some good stuff here, much better than the return of a familiar villain we got in the last movie. The opening sequence is great, everything looks set to be spectacular and thrilling, and then it is all largely abandoned in favour of callbacks and cameos, which is all the more frustrating when you get a treat like the new character, Lars, played by James Acaster with a hairstyle not entirely dissimilar to the one sported by Egon Spengler in The Real Ghostbusters. I also have to say that Lind is fantastic as the forlorn and regret-filled Melody.

STAY-PUFT MARSHMALLOW MAN!

It is hard to give my opinion on a cast who are so often wasted in their roles. Grace remains a very watchable talent, but her sub-plot here ensures that her character is unwisely kept moody and lonely until the third act. Acaster is a fantastic addition, it’s nice to see some more of Ernie Hudson, Patton Oswalt comes along to be Mr. Exposition, and Kumail Nanjiani isn’t given a chance to be as funny as we all know he can be. As for the other familiar faces, they are all pretty unnecessary.

BILL MURRAY!

This is a series that seems intent on restricting itself to tales that are now just frames to hang a load of nostalgia on. It’s not a good approach, and this review emulated the structure of the film. You have everything punctuated by a cameo that is supposed to bring some extra happiness to the viewers, but it doesn’t work when there is no other reason for those cameos to happen. It’s the equivalent of some SNL sketch being hate-crashed by a celebrity who just comments on their own celebrity and their bemusement at being on SNL. That could be amusing, but you would soon tire of it if it was every SNL sketch. And you will soon tire of it here.

BILL MURRAY AGAIN!

Each time I think this movie series cannot get any worse I end up being proven wrong. It has become a depressing cycle of ever-diminishing returns now, and I am always sucked in by the trailer and the optimistic idea that “maybe this time they will get it right”. This is the worst yet, and actually feels embarrassingly desperate at times.

I will still watch another one, but you may as well search for my spark of hope in the ecto-containment unit, because that is well and truly dead after watching this.

3/10

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Netflix And Chill: The Babysitter: Killer Queen (2020)

Everyone was surprised by just how good The Babysitter was. Despite my own ability to tolerate his work, even I could see why McG had become so hated by film fans. Perhaps now is the time for some to realise he's actually never been THAT bad. Although it doesn't change the fact that he credits himself as McG.

Anyway, this sequel to The Babysitter brings back all of the main players. That may surprise people who remember the events of the first film, but the trailer gives you all the info you need. There's a deal with the devil that allows the dangerous youngsters from the first film to return for one night and once again terrorise Cole (Judah Lewis). There are also some new extra characters involved in the madness this time, including an attractive and resourceful young woman named Phoebe (Jenna Ortega).

The approach may not work for everyone, but The Babysitter: Killer Queen has a lot of fun trying to cram in as much fun, and as many movie references as possible, into every scene. Whether it's a running comment about the very few sequels that surpass the originals, the use of "Apache" in one key scene, or the evocative score from Risky Business underpinning some scenes in which we see Cole both afraid and yet also enjoying his time with Phoebe.

Brian Duffield may not have returned to the writing duties, but Dan Lagana, Brad Morris, Jimmy Warden, and also McG himself, do well by all of the central characters, maintaining the tone of the first film, peppering everything with a mix of new gags and fun callbacks. This may not be better than the original, but it comes close enough to be rated on a par with it. It's just a shame that the excellent Samara Weaving has a lot less screentime this time around, understandably so.

The direction is as lively and irreverent as it was in the first film, with the subtitles returning when a point is being made, and some quick flashbacks for most of the main characters. It's not quite as successful this time, simply due to the familiarity with the form, but McG definitely seems to be having fun, which is passed on to viewers.

Lewis and Ortega are a decent pair of leads, with the former having the added characterisation now of working through the PTSD of a traumatic incident that so many people don't believe. Emily Alyn Lind is a lot of fun as Melanie, another girl that our lead character likes, even if his chances of anything actually happening with her look slim to none, and it's hard to pick a favourite from Robbie Amell, Hana Mae Lee, Bella Thorne, and Andrew Bachelor, who are all generally involved in some fun and gory death scenes. It's also worth mentioning the increased screentime for Ken Marino and Leslie Bibb, with the former managing to deliver many more laughs with his wonderful narrative strand.

It's not better than the first film, but if you liked that then you're bound to enjoy this. And patience is rewarded whenever Weaving appears. Her shadow falls over the whole movie, but it moves up a notch whenever she's there in person. I am glad we got a second outing for these characters. I hope they don't try to stretch things for a third outing though.

8/10

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Doctor Sleep (2019)

I don't think anyone was overly excited when Stephen King announced that he was releasing a belated sequel to The Shining. It was a story that was all done, and nothing else needed added to it. Yet King wanted to know more, he wanted to check in on the man that young Danny Torrance became, the man who must have struggled throughout his life to process all he had gone through. We'll come back to this point in a minute.

Directed, and adapted into screenplay form, by Mike Flanagan, one of my favourite people working in the horror genre lately, the movie version of Doctor Sleep is like a box full of hyperactive kittens. There's a visual appeal, there's a worry as things keep moving and you think one or two might run away and hide somewhere, and there's a transition from happiness to slight discomfort as tiny paws produce tiny claws while a brave little body starts to climb up your legs.

Ewan McGregor plays Danny Torrance, a man still battling ghosts and demons of his past. He's aided in this by the spirit of Dick Halloran (played this time around by Carl Lumbly). He also tries to aid himself with lots and lots of alcohol. While making a serious attempt to straighten his life out, and finally passing some years in relative contentment, Danny ends up on the receiving end of some messages from a young girl named Abra (Kyliegh Curran). Abra also shines, and shines strong, which brings her to the attention of Rose The Hat (Rebecca Ferguson) and her friends, a group of powerful entities who increase their lifespan by taking the lifeforce from those who shine. Danny needs to put himself back in a position he thought he would be able to avoid for the rest of his life, and that may also involve a trip back to The Overlook Hotel.

The more I think about Doctor Sleep, the more I find to like about it. Flanagan gave himself the unenviable task of tying together The Shining movie, The Shining novel, and the main source material (which I have yet to read), in a way that would try to please everyone, but could end up pleasing no one, and he's done a remarkable job, in that regard.

I always say that Stephen King tales are harder to adapt when most of the content belongs in the heads of certain characters. See Dreamcatcher, for example. Or, y'know, don't. But Flanagan proved that he could work around that with his superb adaptation of Gerald's Game, and he tries hard to make this work. It's a bigger challenge this time. Different people have different headspace environments here, and psychic conversations are always tricky to convey without either the actors looking silly or the momentum of the movie grinding to a halt.

The other challenge is, of course, reworking the famous imagery film fans all know and love from The Shining. Making the wise decision to recreate certain moments with new actors portraying the characters in ways that are in line with what we've seen already, but absolutely not just impressions of previous performances, Flanagan gets this all just right. Lumbly is a wonderful Halloran, Alex Essoe is very good as Wendy Torrance, and Henry Thomas is a decent Jack, despite coming closest to imitation (perhaps because Jack felt quite like, well, JACK).

For those giving us all new portrayals of characters, McGregor does okay, but is the weakest link. Whether it's the script or his own take on it (and I usually find McGregor to be a very good actor), he never feels quite right in the role of Danny, and is overshadowed in any scenes he shares with the excellent young Curran, and even Cliff Curtis and Bruce Greenwood, who are both very welcome in small supporting roles. Ferguson makes up for her inconsistent accent with a physical performance that displays her character as one light of touch until it is time to rip open "a meal". The only other disappointment with Ferguson is that her character takes up more screentime than the brilliant Emily Alyn Lind. Lind, playing a young woman who can control the minds of most people around her, is arguably the most terrifying figure onscreen, due to the careless way she will wield her power without a second thought.

A dark fantasy drama rather than an outright horror, in my view (although labels are a constant source of frustration for us genre fans), Doctor Sleep may disappoint anyone looking for proper scares, or some gore, or even a hair-raising atmosphere. Sadly, it lacks all of those things. But it still manages to be a decent watch as you invest in the characters and root for them to overcome the many obstacles in their path.

Which brings me back to what I referred to at the start of this review. King wrote his novel because he got curious about Danny, and what kind of life he would lead. He wanted to check in on him, psychological scars and all. The film starts off with this as a focus. I am sure that Flanagan would argue it never moves far away from that, but it does. I was drawn in to the first scenes with McGregor, already anxious for him as he picked the absolute wrong ways to numb his pain, and that journey leads up to the halfway point of the film, before then veering off to drag us along on a psychic horror adventure. The second half isn't necessarily a worse film, not in and of itself, but it's just a shame that what started as an exploration of ghosts and painful memories becomes a tale of ghouls and fresh wounds, and we already have a lot more of the latter than the former.

For the details dotted throughout, for the many little touches that will please King fans, and for the exploration of the troubled and assaulted mental state of a survivor, this is probably still worth your time, even at two and a half hours. A reserved recommendation.

6/10

You can buy the movie here.
Americans can buy it here.