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A Ghostbusting Double Feature

Ghostbusters (1984)


I probably sound like a broken record at this point, but as a relatively new fan of Ghostbusters (1984), I have no nostalgic attachments to this particular film or the franchise. However, upon watching the incredibly disappointing trailer to the 2016 all-female reboot on YouTube, I was immediately curious about what gave the original two movies their lasting appeal across generations. As it turned out, upon watching the original film, I became an instant fan almost immediately. Ivan Reitman's lively direction, Dan Aykroyd and the late Harold Ramis' sharp and witty screenplay, the impressive use of visual effects for a 1980s ensemble comedy, Elmer Bernstein's playful yet committed score, and the shared workman-like charm and comedic chemistry between the likes of Bill Murray, Ernie Hudson, Aykroyd, and Ramis still hold up over thirty-five years later.


Ghostbusters follows three parapsychology professors from Columbia University, Peter Venkman (Murray), Raymond Stantz (Aykroyd), and Egon Spengler (Ramis), as they form a paranormal investigation and elimination business team in New York City called, you guessed it, the Ghostbusters. With the newfound help of newcomer Winston Zeddemore (Hudson), the Ghostbusters team up to track down and exterminate the extraterrestrials roaming around the Big Apple before more menacing deities like Gozer the Gozerian (played by Slavitza Jovan and voiced by Paddi Edwards) wreak havoc on their city.


First off, the cast and their characters are all amazing. The four guys' chemistry together is one for the ages, with Murray's character of Venkman with his spontaneous wit and sarcastic demeanor being a highlight. Not to take anything away from Aykroyd, Ramis, and Hudsons' characters of Ray, Egon, and Winston, respectively, who are also highly memorable in terms of personality. For instance, Ray's childlike enthusiasm and knowledge of the paranormal is quite adorable, Egon being the team's brains with a uniquely deadpan delivery, is a show-stealer, and Winston's working man instincts with his outsider insight on the supernatural make him a great straight man to the team's quirky dynamic.


The supporting characters like Dana Barrett (played by Sigourney Weaver), Louis Tully (played by Rick Moranis), and Janine Melnitz (played by Annie Potts) all manage to deliver the goods for their respective roles. Dana serves as the tenet whose apartment is a portal to the underworld, as well as a romantic interest for the womanizing Venkman. Louis' hilariously awkward antics and quips somehow manage to outshine the Ghostbusters themselves. I still find myself saying, "Okay, who brought the dog?" from time to time. Janine's sarcastic sass is ever-quotable, as evidenced by "We got one!" and "Ghostbusters, what do you want?!" However, she doesn't have much material to work with other than be the Ghostbusters' secretary, who makes phone calls, interviews potential newcomers like Winston, and playfully flirts with Egon, who remains for as far as I can tell, remains oblivious. More on that later.


What makes Ghostbusters such a unique watch is its seamless balance between laughs and scares, which is due in part to not only director Ivan Reitman's skillful direction that relies on the comedic strengths of the actors and framing of the high-stakes story in a grounded yet lighthearted manner but Aykroyd and Ramis' script, which in addition to containing genuine laughs, manages to bring real moments of tension and suspense, which are comparable to the horror films of the time. While slightly antiquated by 2021 standards, the visual effects have an old-fashioned charm about them that is rather endearing to look at, especially the film's use of practical puppetry, stop-motion animation, miniature effects, and traditional animation bring the ghosts to life. Of course, I cannot write this review without mentioning the Stay Puft Marshmellow Man, whose scenes of him stomping menacingly down the streets have aged magnificently after all this time. Bernstein's score is light and bouncy during the film's lighter moments and genuinely eerie and atmospheric during the more intense sequences. Speaking of music, Ray Parker Jr.'s titular theme song (which famously rips off Huey Lewis and the News' "I Want a New Drug") remains an excellent listen regardless of the time of day.


As much as I enjoy this movie, certain aspects have aged rather poorly in retrospect. Namely, the film's casual sexism towards the women on the part of the Ghostbusters, especially towards Janine and Dana, who is often there to be the object of Venkman's advances. Also, the film's antagonist, the Environmental Protection Agency (EPA) inspector Walter Peck (played by William Atherton), is highly problematic. Granted, he is there to be a thorn in the side of the protagonists' side. It is clear that this movie was made during the 1980s when Ronald Reagan was President of the United States when the conservative mindset and emphasis on Reaganomics and its pro-business stance with limited government interference (in the form of antagonized bureaucratic officials) dominated the public narrative throughout the '80s.


Despite being a product of its time, Ghostbusters stands the test of time for its memorable quips and visuals. I still find it admirable how well this film has stood the test of time among the dedicated fans across generations. Was there merchandise? You bet, and an animated television series called The Real Ghostbusters to boot. What about a direct sequel? Stay tuned for my thoughts on Ghostbusters II (1989) next.


Final Score: 9 out of 10



Ghostbusters II (1989)

PETER VENKMAN: "Do..." RAYMOND STANTZ: "Re..." EGON SPENGLER: "Egon!"

That single exchange gave me the biggest laugh from Ghostbusters II (1989). Not that this movie is terrible, mind you. Ghostbusters II stays afloat mainly due to the cast's infectious charm and chemistry, as well as several instances of genuinely creepy imagery.


Ghostbusters II follows the Ghostbusting team five years after the end of the first movie, where the Ghostbusters find themselves sued for the property damage from their battle with Gozer and forced out of business. However, they are soon called back into action upon the arrival of a mysterious pink slime that feeds off people's negative emotions like anger and a possessed painting with a menacing glare that will undoubtedly haunt the children's dreams at night, with plans of world-ending domination.


The best thing this sequel has going for it is its cast, who remain reliably charismatic and likable as ever. Bill Murray's Peter Venkman is still the witty and charming womanizer from the first movie, Dan Aykroyd and Ernie Hudson's shared dynamic as Raymond Stantz and Winston Zeddemore is admirable, Harold Ramis' Egon Spengler with his straight-faced headiness and sly wit remains a highlight, as well as Sigourney Weaver and Annie Potts as Dana Barrett and Janine Melnitz respectively, who are given more material to work with character-wise this time around, but still follow the basic beats of the original.


This movie also offers Louis Tully (played by Rick Moranis), now dating Janine, more to do as a character by making him a Ghostbuster and having him help save the day during the third act. The fact that Moranis chose not to return for Ghostbusters: Afterlife (2021), a.k.a. Ghostbusters III, is disappointing yet understandable, as his role would inevitably be limited to a cameo appearance. Speaking of cameos, director Ivan Reitman's son Jason makes a cameo as a spoiled boy at a birthday party at the beginning. In hindsight, this is pretty funny given that over thirty years later, Jason Reitman himself would direct Ghostbusters: Afterlife. More on that film later.


This movie is visually more colorful and less gritty, perhaps as a concerted effort on the filmmakers' end to appeal to children who had most likely seen The Real Ghostbusters animated series on television. However, one thing that has remained consistent from the first movie is its use of genuine scares, of which are a couple, namely, the main antagonist, a possessed painting of Vigo (played by Wilhelm von Homburg and voiced by Max von Sydow), and a brief scene of decapitated and impaled heads inside an abandoned subway tunnel. There is also a considerable emphasis on visual effects sequences, which are a great spectacle on their own but feel more like the movie's focus than the jokes themselves. However, while a distinctive visual departure from the source material, it, regardless, is not too big of a detractor for me. While the music from the first movie was, and still is, memorable, the score or original songs from this film are not nearly as catchy as the original.


Despite its many shortcomings as a sequel to a beloved '80s classic, there is still plenty of enjoyability to be had from this movie, even if the screenplay and amount of audible laughs are considerably lacking compared to the original film. While a retread of the first film storywise, it still manages to pack some instances of better character utilization with genuine scares to offset the jokes that miss more than hit. Is this film worth the marathon? Absolutely. Will I consider this a modern classic? Probably not anytime soon. However, despite being thought to be a disappointment at the time, perhaps now it is appropriate for fans like me to give Ghostbusters II another shot, given the recent release of Ghostbusters: Afterlife.


Final Score: 7 out of 10

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