It is absurd that Ghostbusters (2016) has prompted such serious conversations, becoming a flashpoint for the unbridled misogyny that has beset geek culture of late. Manbabies are railing against the film whilst simultaneously declaring they will never see it, whilst spamming IMDB with zero star reviews. This is all even more absurd because the only area in which Ghost Busters (1984) truly excels is in being really, really fun.
You can add another reason to feel sorry for the so called Ghostbros who are refusing to see this film – they are missing out on one of the year’s best times at the cinema. There are definitely things the film does not do particularly well. But much like the film it is based on, this is above all fun. Really well performed, well directed and spectacular looking fun at that. The story is pretty thin and will feel familiar to anyone who has seen the original. Two scientists posited a theory of the paranormal years ago. In the interim one has gone ‘legit’. They briefly feud early in the film. That is resolved very quickly, then with another scientist and a MTA worker in tow, they set up their ghostbusting enterprise. Fun ensues. And that’s what it is all about really. There are some flat spots. Early on particularly and it is a little exposition heavy at times. But it is all the other aspects – the acting, score, action, visuals – attached to this story that make this a very worthwhile watch. Where there is thankfully some depth is the paranormal mythology set up. It helps to explain the actions of the main villain and adds some malevolence to the goings on that are populated with somewhat silly looking CG ghosts in a way that actually works well. As for the controversy swirling around the film, it engages with that really well I feel. A couple of the script’s funniest zingers are one-liners about the internet trolls commenting on YouTube videos and railing against the fact that women couldn’t possibly bust ghosts. But the script never makes this a focus, rather getting in some good jokes, but never distracting itself from the main plot.
One of the major assets this film has going for it is that the best mainstream comedy director working today Paul Feig is at the helm. Not only is he good at the funny stuff, but just like in Spy (2015), though even more so here, he proves himself really adept at doing action. The large scale set piece at the end manages not to merely devolve into an effects-fest, but continues the narrative threads set up earlier. Also sprinkled throughout are a reasonable number of good smaller pieces of fisticuffs. We’ve seen how hard it is to tell compelling action with any sense of weight when it is a human performer facing off against a bunch of CGI sprites. But the director and his performers bring that to life well. There are some nicely done scary moments too, especially the haunted mansion style opening where the sound design and riffing on genre tropes makes for pretty effective stuff. The film looks exceptional as well. Not only does the 3D avoid the common traps of being totally dark or having that tacky diorama feel, it elevates what is on screen. There is a black border around the image which allows weaponry and lightning to go outside the frame. It’s a simple approach, but it feels fresh. Plus the slime and ghosts coming right for you is as fun as you would expect, without being overdone. I would definitely recommend making the effort to catch it in the 3D format.
On the performance front, all five of the leads are good at the very least. The patter between McCarthy and Wiig was the best thing about Bridesmaids (2011) and it is again joyful to watch here. They are both excellent performers. If anything there could have been more of that. Wiig does a lot with a character that could have been overwhelmingly boring, and her interactions with Chris Hemsworth are really charming too. Hemsworth is a lot of fun, subverting the traditional dopey receptionist cliché, though the writing of that character does on occasion veer a little too silly. Probably the best of the performers are the two relative newcomer ghostbusters. Kate McKinnon as Holtzmann is (rightly) getting a lot of the buss at the moment. Her energy is infectious and you could feel the cinema leaning in every time she was the focus. But I think Leslie Jones as Patty may even outdo McKinnon. She is my favourite character, getting a lot of the best moments and biggest laughs. The writing of some of the characters is a little up and down. Especially early on for McCarthy, she is subdued whilst the tokenistic beef between her and Wiig is sorted. But the script also provides the base for McKinnon and Jones to launch their winning performances from. The score of the film is a definite highlight. A film of this tone is hard to score and rarely done right. It is here though. It brings atmosphere to the more frightening scenes, but always just addingsome spookiness, not trying to terrify. Playful and spooky are hard to do without it sounding silly,but that is what is done really well here.
Verdict: Once again Feig, McCarthy and crew have delivered a comedy filled to the brim of laughs, fun action and really excellent performances. I certainly can’t wait to see this band of characters fleshed out on more ghostbusting adventures. Pint of Kilkenny