Ghostbusters: Afterlife – A Nostalgic Journey That Fails to Capture the Magic of Its Predecessors

Ghostbusters: Afterlife, releasing this Friday in theaters, is a film that draws heavily from its predecessors while also being shaped by current influences. A significant echo of Stranger Things looms over Ghostbusters: Afterlife, as the Netflix series has established itself as a benchmark for contemporary narratives involving children battling malevolent supernatural forces. This latest installment in the Ghostbusters franchise not only shifts away from the adult ensemble formula typical of the series, but director Jason Reitman (Up in the Air) has even cast Finn Wolfhard, a notable actor from Stranger Things, to lead this kid-centered narrative. Similar to the Netflix show, Ghostbusters: Afterlife unfolds in a fictional small-town environment—specifically, Summerville, Oklahoma replaces Hawkins, Indiana. Although the story is contemporary, Reitman employs a conceit that eliminates all modern technologies.

Reitman, who co-writes alongside Gil Kenan (Monster House), appears to have crafted Ghostbusters: Afterlife with Stranger Things in mind, which is a significant nod considering that in Stranger Things season 2—set in 1984, the same year the original Ghostbusters hit theaters—the Duffer Brothers had the cast dress up in Ghostbusters costumes. However, Stranger Things isn’t the only major sci-fi influence on Ghostbusters: Afterlife.

In attempting to create a calculated and cautious soft reboot of a beloved film from over three decades ago, Reitman takes cues from Star Wars: The Force Awakens. Like J.J. Abrams did in a galaxy far away, Reitman revisits many narrative elements from the original film—though with fresh characters and new backdrops. In a manner reminiscent of Abrams, Reitman places familiar Ghostbusters gadgets throughout the film, evoking nostalgia among viewers. The Ectomobile takes the role of the Millennium Falcon, while the proton packs serve as the lightsabers of this universe. The original cast makes a return as well, but unlike in Star Wars, they are not portrayed as legends but rather as largely forgotten figures. A key antagonist resurfaces—now portrayed by a new actress—in a rather ineffective role, similar to Star Wars: The Rise of Skywalker.

Though Ghostbusters: Afterlife does not adhere as closely to its predecessor as The Force Awakens does, it also lacks much of the enjoyment. Nevertheless, Reitman attempts to carve out a distinctive voice for the Ghostbusters franchise—departing from New York City and the dry wit reminiscent of Bill Murray for something more family-oriented, akin to the adventures Steven Spielberg used to craft (which Abrams successfully emulated in Super 8). He outfits the Ecto-1 with an extendable gunner seat and a hatch that releases a remote-controlled ghost trap. Although intriguing, I found it amusing that the remote trap could keep pace with the Ecto-1.

Also seeFrom Eternals to Dhamaka, What to Watch in November

Reitman utilizes these familiar elements to mirror what the original Ghostbusters accomplished; there’s a sequence involving a ghost named Muncher (voiced by Josh Gad, the voice of Olaf from Frozen) that serves as a nod to Slimer, albeit in blue. Instead of a colossal Stay Puft Marshmallow Man wreaking havoc, we get a multitude of tiny marshmallow men in a deserted Walmart, cheerfully roasting, blending, and melting one another. Disturbingly, Ghostbusters: Afterlife doubles down on nostalgia towards its conclusion—contradicting the solid groundwork Reitman had laid throughout the majority of the film.

Set three decades after the original film, Ghostbusters: Afterlife centers on a triad of characters: single mother Callie Spengler (Carrie Coon, from The Leftovers) and her two children, Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace, from Gifted). Indeed, they represent the daughter, grandson, and granddaughter of the deceased Egon Spengler (Harold Ramis), who is shown passing away following the actor’s death in 2014. Yet, Egon is not remembered fondly by anyone—Callie resents him for abandoning their New York family to relocate to Summerville, never to return, while the local residents merely recognized him as the “Dirt Farmer” since he tilled land but never produced crops. After Egon’s demise, the financially strained Spenglers travel to Summerville with hopes of selling the house.

Focusing on the family of one of the original Ghostbusters serves as a straightforward way to connect to the original film. Fans will note the behind-the-scenes connection too—Jason is the son of the original Ghostbusters director, Ivan Reitman, who serves as a producer on Ghostbusters: Afterlife. This is far from mere nepotism; both Up in the Air and Juno, featuring Elliot Page and Michael Cera, are award-winning films. Truth be told, Jason showcases a better understanding of character development than his father did in the original Ghostbusters.

Phoebe is an exceptionally well-crafted character. She’s intelligent, curious, and unfazed—an inherent scientist, unlike her mother, who shuns science due to its role in alienating her father. Phoebe also struggles with social connections, which might be due in part to her specialized sense of humor. She candidly admits to her difficulty in processing emotions (is Phoebe autistic? Ghostbusters: Afterlife leaves this ambiguous, which I commend). Furthermore, she doesn’t respond to stimuli conventionally—she claims that a saturation of excitement or fear actually calms her down. This makes her a brave and self-assured character who is eager to discover new things. While she may not be the top-billed character due to Coon and Wolfhard’s popularity, Grace’s portrayal of Phoebe is truly the heart of the film.

Also seeCowboy Bebop Review: Netflix’s Live-Action Remake Is Good Pulp Fiction, Middling Drama

Paul Rudd as Gary Grooberson, Carrie Coon as Callie Spengler in Ghostbusters: Afterlife
Photo Credit: Kimberley French/Sony Pictures

Once the Spenglers settle in Summerville, Ghostbusters: Afterlife immerses them in their new surroundings. Phoebe starts at a summer “public” school, where seismologist Gary Grooberson (Paul Rudd, from Ant-Man) chooses to show movies instead of teaching. In this scene, Phoebe befriends a new classmate named Podcast (newcomer Logan Kim), who has named himself after his podcasting hobby. Meanwhile, in an effort to impress a girl, Trevor takes a job at a diner, only to discover the arduous work it entails. Before long, they uncover that Summerville isn’t just dreary; it’s also peculiar. Earthquakes occur almost daily, despite the area’s distance from fault lines. Phoebe and Podcast begin to investigate, with Grooberson’s assistance.

There are impactful moments involving the kids, particularly as they navigate the complexities of the old Ghostbusters technology. However, Reitman struggles to create a dynamic that builds momentum for Ghostbusters: Afterlife. Podcast is initially a delightful character but gradually transforms into a narrative tool for the film, reminiscent of Harish Patel’s Karun in Marvel’s Eternals, as he provides live commentary on their escapades. He effectively breaks the fourth wall, framing their experiences as a movie. Meanwhile, Wolfhard’s character feels underutilized, as his primary role seems to be that of the new driver for Ecto-1 later on. A notable leap in logic occurs as the children swiftly transition from having no knowledge about Ghostbusters to quickly mastering their intricacies—I suspect a version of Ghostbusters: Afterlife exists that connects these dots in a more intuitive manner.

Frustratingly, the adult characters in Ghostbusters: Afterlife are even more marginalized. Callie’s paternal conflicts may resonate, but this is primarily due to Coon’s impressive acting. Regrettably, she is not given sufficient screen time—her role feels rather thankless for someone capable of delivering strong performances. The same can be said for Rudd, who excels in comedy but has little to work with here. Not only does Ghostbusters: Afterlife squander the potential of Coon and Rudd, but it also features seemingly pointless roles for J.K. Simmons and Olivia Wilde—disclosing their characters would be spoilery.

Moreover, we have yet to acknowledge the nostalgia-laden returns of the original cast, consisting of Bill Murray, Dan Aykroyd, and Ernie Hudson. Although their involvement is widely known, Sony has made efforts to downplay their appearances in marketing. Unfortunately, the original Ghostbusters’ roles are minimal in the film. In fact, the original team’s appearances likely have more dialogue and screen time in the two post-credits scenes, one of which attempts to hint at a future for the beleaguered Ghostbusters franchise.

Also seeThe Final Ghostbusters: Afterlife Trailer Is Full of Spoilers

[IMAGE_3]

Finn Wolfhard as Trevor, Mckenna Grace as Phoebe, Logan Kim as Podcast in Ghostbusters: Afterlife
Photo Credit: Kimberley French/Sony Pictures

It is around this point that Ghostbusters: Afterlife begins to lose its way. Not only does Reitman lean heavily into nostalgia, but he also chooses an ending that feels forced, overly sentimental, and saccharine. The motivations behind their journey to Summerville are unclear and illogical. The climax lacks originality, recycling shots and dialogue from the original Ghostbusters, as well as moments from the beginning of Ghostbusters: Afterlife. Furthermore, it appears to aim for emotional responses from the audience that feel unfounded, aggressively attempting to tie up the story with a neat finish. More frustrating is that Reitman devotes much of the film to establishing a new narrative style for Ghostbusters, only to revert to a safer approach in the final act that screams, “This version tested best with most audiences.”

Reitman also misses the opportunity to modernize Ghostbusters. Within the context of Hollywood fantasy/supernatural properties exploring Eastern cultures, Ghostbusters: Afterlife draws from ancient Mesopotamian civilization, Sumer, to create its “exotic” backdrop. While this might have been overlooked in the 1980s, it is nearly unacceptable in 2021. The main antagonist, Gozer, named after a Sumerian goddess, is portrayed by a white actress in Ghostbusters: Afterlife, whose sole aim is to initiate an apocalypse—there’s no greater significance behind it all. This comes across as blatant cultural appropriation, serving merely to enhance a Hollywood franchise. It feels distasteful.

For a series that has produced only one acceptable film (the original can feel outdated in some aspects) and a series of forgettable sequels and spin-offs, Ghostbusters has an undeniably substantial cultural footprint. Ghostbusters: Afterlife is not the first effort to resurrect the franchise—previously, there was the all-female reboot in 2016 that was met with dismal results, which Reitman chooses to completely disregard as if it never occurred. There are no references to any of it. This reflects the film’s true purpose—to wipe the slate clean for future sequels. Ghostbusters: Afterlife is a transparent attempt to reinvigorate the franchise for a younger demographic, which aligns with Hollywood’s four-quadrant blockbuster philosophy. Essentially, it is aimed at generating fresh revenue for Sony Pictures.

If only Sony demonstrated the same level of opportunism as other Hollywood studios. Watching Ghostbusters: Afterlife made me wonder if Reitman should have fully embraced its twin inspirations: Stranger Things and Star Wars. Transforming Ghostbusters into a TV series could have been a more fruitful avenue. Stranger Things benefits from having time to develop its characters—something Ghostbusters: Afterlife clearly could have used. Meanwhile, the Star Wars franchise has thrived by shifting to television (as shown by The Mandalorian) while its films have struggled. However, given that Sony lacks its own streaming service in the US, I suspect that this idea was never considered.

Ghostbusters: Afterlife premieres on Friday, November 19 in India and beyond.