Ghostbusters: Frozen Empire

This year's GHOSTBUSTERS: FROZEN EMPIRE feels like one of the most unnecessary sequels I've  seen of late.  You may have read me before, using the term "flashing the goods".  Breaking no new ground.  Describes this movie perfectly.  A truly content franchise entry designed to please devotees  and unlikely to gain new ones.  This came as a surprise after 2021's GHOSTBUSTERS: AFTERLIFE changed venues and introduced several new characters.  At times, it was even dramatic.  A family drama that nonetheless gave way to wisecracks and the sorts of effects laden apocalyptic showdowns we expect from this series.  

I criticized the earlier movie for its indie lite stylings, courtesy of writer/director Jason Reitman, son of the late Ivan, who directed the first two films back in the 1980s and to whom this film is dedicated.  The first GHOSTBUSTERS perfected the underachiever comedy genre and also managed to be an effective sci-fi horror.   These days audiences are far less accepting of old school irreverent humor. 

Director Gil Kenan, co-writing with the junior Reitman favor that early 21st century self-aware style comedy that thuds hard during this movie, mainly via the character of Kumail Nanjani, played by Nadeem Razmaadi (he tries). It is learned he possesses psychokinetic powers and is linked to a mysterious brass orb passed down by his grandmother.  One that has served as a prison for a demonic god called Garraka, who's itching to be freed and unleash icy mayhem in NYC, where the new Ghostbusters join the old 'cause busting makes them feel good.  

The plotting is busy, probably too much so.  Phoebe Spengler (McKenna Grace), who joined her brother Trevor (Finn Wolfhard), mother Callie (Carrie Coon), and mother's boyfriend Gary (Paul Rudd) in their move to NYC, even strikes up a friendship with a ghost named Melody (Emily Alyn Lind).  It all ties together, but FROZEN EMPIRE is really a big "meh".  The storyline has all the usual high stakes for mankind, as well as some family angst, but none of it felt urgent enough for me to care.  The film is an exercise, a non-event.  Like Episode 6 of Season 4 of some forgettable TV series.  It is entertaining enough, and solely recommended for fans.

Who again will eat up the appearances of Dan Aykroyd, Bill Murray, Ernie Hudson, Annie Potts, and even William Atherton reprising his role as Walter Peck, who in the forty years since we last saw him has become Mayor.  Still an asshole, but utterly boring this time.  Only Aykroyd seems to be into it, and his perpetual enthusiasm is appreciated.  His scene with Patton Oswalt is easily the best in the film.  Murray seems to be in a daze, but is as effortlessly amusing as always. 

Rudd and Coon phone it in, and their roles are underwritten.  Grace again shines.  She's appealing enough to have her own adventure.