REVIEW: GHOSTBUSTERS (2016)
****
GENRE: Comedy Adventure Fantasy
DIRECTOR: Paul Feig
CAST: Kristen Wiig, Melissa MacCarthy, Kate McKinnon, Leslie Jones, Chis Hemsworth, Neil Casey, Andy Garcia
RUNTIME: 116΄
Two scientists, one nuclear engineer and one subway employee, but also formidable amateur historian combine their knowledge and skills in order to deal with the – planned by a frustrated, ever bullied, unappreciated nerd – ghost invasion of New York.
This film has two sides. One obvious, more purely entertaining. And another, discreet, more subdued – food for thought and a good motive for productive discourse. Both are indispensable and notable, but not for a moment forced or aggressive. In other words, you pick and choose: either one or both of them. In any case, you better leave any prejudice and fixation back in… 1984.
Heads. As a cinematic entertainment piece this reboot / reimagining (and not remake) of the original, beloved hit of 1984 fires on all cylinders. In every respect. The spectacle is impressive, slick and engaging, taking every advantage of the high-tech, SGI special effects, without however overwhelming the plot, actors or – crucially – the comedy. The director (with the undivided contribution of his editors) knows how to set up sequences of quite or outrageous slapstick, physical comedy (Kevin/Hemsworth shuts his eyes instead of his ears on one hand, Abby/McCarthy swirls like a deflating balloon as she tests her equipment on the other); and how to communicate the screwball humor, which “breaths” in almost every line, every expression, nod, mannerism, grin or frown of everybody in the cast («Never compare me to the mayor of Jaws! Never!» says Garcia’s effortlessly hilarious mayor).
Feig also understands how to flirt with the codes of horror, so that to duly leave you breathless as he builds the suspense: prime examples the opening scene at the haunted, historic mansion and Patty’s/Jones’ confrontation with a mannequin. And he is fully aware of the means, the extent and the time to make subversive or not, cinephile references. To the original film and its sequel: Slimer and Marshmallow Man are back, whilst flying books and babies, as well as Zuul, are mentioned. To other classic and much discussed cinematic creatures: Jillian/McKinnon beckons «Come out, come out, wherever you are…» echoing Glinda in the Wizard Of Oz. And to both Saturday Night Live and to its Canadian counterpart Second City TV that launched the careers of every single Ghostbuster, old and new: Jillian, again, breaks a guitar channeling John Belushi, while the Dean of the Institute where she worked with Abby is homage to a character created by John Candy.
Most of all though, these reborn Ghostbusters knows by heart how to combine all of the above, choreographing scenes that will make you scream. With tears in your eyes, stomach aches, reflecting jerks of your extremes and oscillation on your chair. Not only due to laughing out loud. Coming off as these combinations’ peak are perhaps (according to your taste you may… piss yourself in another instant) everything that happens from the moment a possessed Abby exits the bathroom until her impromptu exorcism by Patty, in front of the window.
In this… juggling prowess of theirs, crucial is the input of the screenplay on one hand, and of the unafraid actresses/ors on the other. The former makes up the ghost apocalypse as the outburst of a lonely, shunned, marginalized and still victim of merciless bullying, genius. Thus, Casey’s Rowan becomes the reflection on the mirror of Erin’s/Wiig’s, Abby’s, Jillian’s and Patty’s reality, who also have to endure quite a lot of ridicule and bullying («Okay, I don't know if it was a race thing or a lady thing, but I'm mad as hell» protests the… thrown on the floor of the rock concert Patty). They simply were lucky enough to find each other at the right place on the right time, as Jillian correctly observes during her toast, just before the end, confirming the film’s aspect as a tacit, apt comment on the violent, intolerant times we live in.
The cast on its part performs expected and unexpected wonders. Wiig and McCarthy excel again, each with her particular comedic streak: more... intellectual, still waters and comme il faut that of the first, more extrovert, loose and anarchic that of the second. Jones erupts on the screen as an unapologetic, exuberant, outspoken and proud black (magic) woman, while the surprising and disarmingly deadpan Hemsworth systematically floors you. But is McKinnon the one that steals the show. By far. With a… full body comedic performance, alive in each, even its slightest detail. Hilarious but also touching. Creating as a result an eccentric yet tangible character – an unanticipated, paradoxical, quirky in her braveness, honest and sharp, gender fluid heroine, capable of outsmarting even Johnny Depp’s Jack Sparrow.
Or/and tails. The fury and prejudice that greeted (and still greets) this movie causes (unpleasant) surprise and is actually unwarranted. Yes it glaringly, easily, but also irresistibly and hilariously redacts the – celebrated as Thor – Hemsworth in the role of… trophy secretary: the gorgeous but dumb and insignificant chick. The stereotype, in other words, that exists only as an eye-candy and has adorned countless Hollywood blockbusters. This, however, is its only explicit comment on the cinematic gender politics, emblematically deciphered by John Berger, as he argued «men act and women appear. Men look at women. Women watch themselves being looked at». Otherwise, this is not a strictly, forcefully, female affair. The term «chick flick» does not pertain to it, because in fact this movie is blind. It doesn’t see male or female. Women or men. Only human beings, who as they strive to fulfill themselves and find their place in the world, get excited and frustrated, fight external and internal demons, and find a few good friends / fellow travelers to share the joys and the sorrows of this life. Always with humοr, redemptive and lifesaving.
P.S. We won’t disclose anything about the more or less imaginative cameos of the original films’ stars so not to spoil the surprise. We would recommend however not to take your eyes off the screen before the very last of the end credits.
IS IT FOR ME;
ABSOLUTELY if you a new generation cinephile, who didn’t grow up with the original Ghostbusters, or an old generation cinephile, who did grow up with the original Ghostbusters, but also the ever evolving cinematic art, and want to… piss yourself laughing. ABSOLUTELY too, if you are looking for pure, carefree entertainment, or pure and carefree plus not an annoying or persistent or patronizing motive for fruitful conversations. NO WAY if you are a hardcore phallocrat, feminist, or an 80s fanatic.
This review was first published in Greek at freecinema.gr's film review section.
