Release Date: July 11th, 2016 (UK); July 15th, 2016 (US)
Genre: Comedy; Fantasy; Science fiction
Starring: Kristen Wiig, Melissa McCarthy, Leslie Jones, Kate McKinnon
You might use the term “whipping boy” to describe someone who is unfairly or unevenly hammered for the flaws of someone or something else. That political leader who bears the brunt of the blame for a vote gone awry. The footballer whose defensive error gives away the second goal in a 5-0 defeat. You get where this is going. Paul Feig’s Ghostbusters has been, for quite some time now, cinema’s highest-profile whipping girl. And for what? Because it’s a reboot of a cult classic? See Jurassic World. Because it’s the product of a big studio using an established brand to cultivate cash? See just about every summer blockbuster for the past decade. Or because it subs four leading men for four leading women? Ah. Bingo.
Well the four women are funny and, shock-horror, the film is funny too. It’s also in the same ballpark quality-wise as its predecessor, a movie apparently moulded in the hands of God himself (of course God is a guy, pfft). Ivan Reitman’s Ghostbusters was a fun flick with charismatic players and a popcorn plot. A lot like Paul Feig’s Ghostbusters, in fact. Neither is worth the buzz that surrounds it: Reitman’s Ghostbusters is far from the greatest comedy of 1980s, let alone all time, and Feig’s effort is far from the end of masculinity, let alone cinema.
This incarnation follows Erin Gilbert, Abby Yates, Jillian Holtzmann, and Patty Tolan — Kristen Wiig, Melissa McCarthy, Kate McKinnon, and Leslie Jones — an academic, two scientific minds, and a general knowledge buff who collectively band together to defend the streets of New York City from insurgent ghosts. The ghosts’ sudden arrival has everything to do with spiritmonger Rowan North (Neil Casey), whose barmy devices pave a paranormal path to the real world. Though that hardly matters. What matters is the re-establishment of the ghostbusters, that they are legitimised both within and outwith the narrative, and that we get some laughs along the way.
And there are some laughs, often at the expense of the male characters in the piece. Chris Hemsworth, for instance, plays a dumb blonde receptionist, a role that has historically been reserved for the token female in big budget cinema. Spoiler alert: Bill Murray shows up as the film’s biggest sceptic. He doesn’t believe in ghosts, and by proxy, he doesn’t believe in these ghostbusting women. Even the male tour guide we see at the beginning is utterly afraid of bumps in the night, so much so that he has one of those juvenile ‘accidents’. I can’t recall one strong male character, and guess what? That’s sort of the point. That is the joke. The film does not set out to demonise men (#notallmen) but rather to pithily tear down the cultural and filmic stereotypes prevalent in cinema.
You could argue this approach is overplayed and that it perhaps gets in the way of other would-be satirical adages. For example, the ghostbusters find themselves not only battling their paranormal opposites, but also the non-believers. YouTube trolls bear the brunt of a quip or two: “Ain’t no bitches gon’ hunt no ghosts,” reads one comment. And still, they do. Maybe co-writers Katie Dippold and Feig’s stereotype-smashing could have even gone a tad further, but this is standard comedy fare after all. Besides, Hemsworth’s dopey Kevin — the longest-running and most vociferous of the stereotype gags — is worth his screen time. He wears glasses without frames and has a cat called Mike Hat (phonetics). Hemsworth plays the idiocy straight; Kevin is a cardboard cutout coloured with heightened irony, and it works as well as any other strand of amusement.
The remaining amusement is served up by our key quartet. You initially pin Wiig as the reluctant one of the group, her attire academic and her exterior distant, but that reluctance quickly evaporates. Wiig, perennially brilliant at being awkward and standoffish, gets to be awkward and standoffish before gelling with the gang. That Gilbert so suddenly abandons her academia in favour of beliefs she has repressed for many years does suggest a sense of rushed characterisation, but it at least affords Wiig the opportunity to exercise her versatility. Speaking of gelling with the gang, Jones’ Patty is treated as an equal instantly — it hardly matters that she has no scientific experience, only that she has valid local knowledge and a desire to rid the city of ghosts. Crucially, the performers season a believable camaraderie.
The action is run-of-the-mill. The visuals, expectedly lively (it all goes a bit weird during a Godzilla meets Avengers final act, particularly when Feig invokes 2001: A Space Odyssey. Theodore Shapiro’s score is fun and bombastic and nods admiringly towards its predecessor. And the costume design matches that bombast, effectively reflecting the variable personalities of our four leads — especially the goggles-wearing Holtzmann, McKinnon’s wide eyes purveying excited madness. The story itself isn’t especially laudable, a criticism that has been thrown at many a recent franchise reboot. In a lot of ways Ghostbusters is vintage Feig, cultivating a light atmosphere with steady technical facets and the occasional barb. It is not as volatile as Bridesmaids, and thus not as good, emphasised by McCarthy’s less-brazen approach.
But Ghostbusters is fine. It’s a solid reboot, not narratively groundbreaking but funny enough (listen out for a terrific Jaws gag). It isn’t mistake-free: for whatever reason, there is a disorienting Ozzy Osbourne cameo and the human villain is a barely-realised two-dimensional prospect. However, Feig’s Ghostbusters is not going to taint whatever legacy the original has mustered, but will instead encourage a new generation of fans. It’s frothy, not vindictive. It’s another big studio reboot in an era of big studio reboots that people will either love or hate, and as they decide the world will keep spinning. Relax.
Images credit: IMP Awards, Collider
Images copyright (©): Columbia Pictures