“Ghostbusters: Afterlife Review”: Slimy and smelly corpses from the sequel

Afterlife among the true cosplay premieres at Comic-Con in New York. The crowd’s reaction in the cave convention hall was a way to clear up any remaining confusion. About why the original Ghostbusters. The gritty comedy starring Saturday Night Live alumni featuring sci-fi poetry, was brought to life as a live-action show.

Where children learn that science rules and nothing are more important than love for family. The sequel’s appeal to systematically avoiding everything that made its predecessor successful enough.

To get this treatment quickly became apparent when participants gave high approval. To what they believed to be the actual weight of this flawed project. Decibels stated. Participants can’t help but hear the current focus.

Whenever another antispectral ghost first appeared on the screen. It was greeted by the audience with a surge of orgasmic excitement. The same goes for confusing reflections of old cars, old costumes, some old dialogue. And the myriad rest of tropes for Ivan Reitman’s canonization blockbuster.

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His son Jason, the director who, during his pre-screening panel. Announced a desire to see his post-release the entire universe of Ghostbusters content. Which strives for little more than the dying pleasure of a rat with a recognizable handle.

His approach to the sycophant bank proved so reliable in real-time at the Javits Center:

That the joy of knowing would automatically replace the need for humour. Or the witty ass charm that initially made Ghostbusters worth watching. This bribe could pay off at the box office. Ultimately, this is for fans, but a special kind of fan. Who is more interested in identifying the object than what is done with it.

There’s no other explanation for the approach that trades Bill Murray’s ironic subtlety with Amblin’s gentle. The serious KO goes hand in hand with modern “weird stuff.” If we can’t make this connection ourselves.

The actor used to play Finn Wolfhard as Trevor, the lucky son of a teenager from the Spengler family. Kali’s obsessed mother (Carrie Coon) and disciplined sister Phoebe (Mackenna Grace). Which move into the farmhouse abandoned by her recently deceased grandfather.

Who happens to be at the centre of ecto activity. Together with new friends, including a kid with a podcast called “Podcast” (Logan Kim). So no one forgets what makes him unique.

And a sarcastic teacher Mr Grooberson (Paul Rudd, forced into a hilarious supporting role with Coon. Whose only severe discomfort is accentuated by everything else). They must beat another CGI energy storm that seems tasked with closing the tent today.

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What’s scary are Reitman’s various tricks. It’s blurry.

Not every moan is like a cop offering Trevor the phone, who hangs up at night and asking, “Who are you going to call?” Think of the simple cowardice of a script that uses its mythology to subtly remove the 2016 all-girl reboot from the canon and give excuses to the savage trolls who bombard the zero-star IMDB carpet after they always miss.

Even scientific expertise claims seem to be exaggerated, from Grooberson’s assertion that science is “punk” to Phoebe’s pompous prominence the size of a pint. The message is clear, as recipients expect: There’s nothing more powerful, more important, or more relaxed than being a fool.

The PR team wrapped “DO NOT OVERFLOW” in a yellow ribbon. It’s impossible to appreciate this film without hitting spoiler territory fully. Still, the howling clarity of the third act’s surprising performance may provide an opportunity to talk about specifics.

In general, when computer technology begins to move around the ghostly figures of the dead:

The critical ethical boundaries are crossed, twice as much when the person is known for his dishonesty to flies. Instead, their digitally revived corpses arrive in time for the worst corn moment in the film.

In establishing continuity, Reitman has an unsettling feeling of possessing a past. As if he were the natural heir entrusted with sacred texts. Rather than a man who is overly grappling with the memory of a film that is still one of the most important Elements of sleep is high school for the level.

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Perhaps it is appropriate and indicative. That the bead of artefacts from the 80s in 2021. it should be permeated by all of the most characteristic questions of this studio edition. Here we find a chilling summary of the legal regime of modern Hollywood, nostalgic object. The personality emptied and stuffed into boring fun form. Created in the name of a fandom that respects everything and respects nothing.