Monday 1 August 2016

Twenty-five reasons why the new Ghostbusters is...


 Because Bill Murray's first scene in Ghostbusters establishes him as a scoundrel,
and his last scene does nothing to suggest any character development.


There were some rather pointed outbursts regarding the trailer for Ghostsbusters when it was first released. Not only were people generally dismayed because it wasn’t as funny as they’d hoped, but people took umbrage with the fact that while the three white actresses all were employed as scientists the African American member of the posse has a job as an MTA worker.


Because Leslie Jones was in a position to go public about the noise she was getting from designers.


 Because the net is a safe place where people can vent the death threats
they feel are an appropriate response to the latest Melissa McCarthy vehicle.


 there’s one thing to keep in mind: Let. It. Go. Kristin Wiig, Leslie Jones,
 Kate McKinnon and Melissa McCarty can’t destroy your childhood
because that particular childhood is a deranged mixed bag.
We’re not kids anymore.


 After what felt like a never-ending culture war fought over the announcement of an all-female
 movie, the critics can finally weigh in on how this new film compares
to the original.


any audience member aware of the “controversy” can’t help but notice moments in the film that seem like direct responses to the backlash and sexism in general, from having the Mayor of New York demand the women keep their mouths shut as they continue to do the city’s dirty work, to having to deal with sexist internet comments.
 “I’m sure it’s not a coincidence that as me and Paul were writing it,
we would look online and say, 
‘Oh, this person wants me to get hit by a truck, OK,’”
Dippold laughed.


 one of the team’s leaders posts videos of their encounters with ghosts
on YouTube in an effort to convince the world that their work is real,
They make the horrible mistake of reading some of the comments
“Ain’t no bitches gonna bust no ghosts.”
 It would come as no surprise if the scene was added late in post-production,
as a direct response to the downvote insanity...
the moment was always in the screenplay,
 an awareness of the general vitriol directed toward the film.
The YouTube stuff was organic to the story;
 Erin’s character is someone who is trying desperately to legitimize herself,
 so she keeps putting up these videos, hoping to get validation,
which you are just not gonna get from the internet
Obviously a cast of four talented women can easily
 hold their own against their male predecessors


Katie Dippold, who co-wrote the film with director Paul Feig,
told Inverse on Monday, about how backlash against an all-women
 Ghostbusters teamwound up shaping the script. “I feel like the world today,
everyone’s looking for approval on social media and everywhere else,
and so to me the goal of this movie was that these four weirdos
can just go after what they’re passionate about,
and not care that they look like maniacs,
and be OK with that, and just be happy
with this family that they made.


The film, which currently has a 77 percent positive rating from critics
on Rotten Tomatoes, stands on its own, with a plot that does not
 require a crash course in current events or a timeline detailing
the patterns of mindless misogynistic abuse hurled at the film’s creatives.
 In the end, it’s about four friends fighting ghosts in New York City,
an idea that works 30 years after its original inception,
and should prove malleable to reboots 30 years into the future.


 There is one scene in particular that plays like a reference
and retort to the hostile reception the film received
 throughout its production and marketing,
including the concerted campaign that gave its trailer the most
downvotes in YouTube history.
The exact shitty comment, however, took some workshopping.


The joke functions as sort of a release valve,
allowing the cast and crew to address the criticism without fighting
the haters and getting off track.
 Writing this film was a challenge on all fronts; not only did it have
to work on its own,
it also had to straddle the line between establishing its own legacy
and satisfying an unsatisfiable group of recently
convertedGhostbusters purists who wanted to see the original film
honored without end.


Whatever complaints they may have — and I’m sure there will be complaints —
 Here's Why The 'Ghostbusters' Sequels Will Be Unbelievable Truth of New York's Haunting History, Megan Logan’ Can't Ruin Your Deranged Childhood> Artist Didn't Know His Art Was in 'X-Men Apocalypse of Thrones' Set t to the Gang Starr Tracks From Marvel's 'Luke Cage'e's Side Piece Met Tragic... Aren't Far From China Isn't Going to Call Early The Movie is Too Safe to Be Grea'Ghostbusters' Can Learn About Gender from Zebbie 
Ivan Reitman Says  Backlash Isn't Sexe Japanese Pop of the 'Ghostbusters' Photo + Kate McKinnon Making Crazy Science You walk out of the movie theater and you’re struck with a burning question: 
What the fuck are ley lines?


 How the Sexist Backlash to 'Ghostbusters' Shaped the Early
 'Ghost but Japanese  Cover of the 'Ghostbusters' Theme Is, 
ballsier version exists in an alternate Hollywood universe. Nevertheless, 
with a crackling sense of purpose and a surplus of reverence 
Sigourney Weaver's Barking Fixed  Jen Yamato from The Daily Beast
 to point out how cookie-cutter safe the new film was, writing-wise


 Unfortunately Ghostbusters also comes saddled with the trappings of
21st century
studio filmmaking: lulls in pacing, kiddie-s the general sense that a
for their predecessors,
 new Saturday Night Live standouts take a miracle from beyond to
convert the hypercritical haters.
 to echo the sentiment repeated by other reviewers when she gushes:


 McKinnon’s Holtzmann, meanwhile, is the secret weapon of this
Ghostbusters. Aside from spewing rapid-fire technical jargon as the
team’s resident eccentric gearhead, McKinnon oozes visceral charisma
with the swagger — sans the womanizing douchiness — of Murray’s
Venkman. She flirts brazenly with Erin, emanating cocksure confidence
even if we learn very little about Holtzmann as a character. Hemsworth
might be the beefcake on paper but it’s McKinnon who’ll leave
moviegoers crushing.

 to test how a major Hollywood franchise might fare if entrusted to a
female-driven ensemble although it blame this side-splitting 
box office performance. The problem isn’t that Bill Murray, Dan
Aykroyd, Harold Ramis, and Ernie Hudson created characters too iconic
to surpag, who has carved out his niche in the comedy sphere by
helming such distaff-erty offers a unique opportunity ; the fault lies
in the fact that this Barry Hertz from The Globe and Mail heaped praise 
 in terms of the premature protesters couldn’t be further off the mark.
 Paul Feig’s female-e is thrilling, hilarious, lovingly crafted 
and the wild, colourful, giddy blockbuster
 summer movie season so desperately needs.


 Julia Alexander writing
for Polygon was also ready to praise the cast for lifting up material 
that would have been duller in lesser comedic talents,
Ghostbusters is at its best when its main stars —
Melissa McCarthy, Kristen Wiig, Leslie Jones and Kate McKinnon — 
are on screen together. It’s a movie that relies on the antics of an ensemble 
for some of the bigger jokes to land and when Feig lets
 the comedians work off of one another’s momentum,
 it feels like the film we were hoping for.


At The Village Voice
Melissa Anderson writes:
Ghostbusters 2.0 suffers from the anxiety of influence or, more specifically,
from the fear of not wanting to alienate the fans (Gen X’ers and
others) of 1.0. It never strays far from the anodyne,
generic humor that pervades the Ivan Reitman–directed 1984 original,
written by Dan Aykroyd and Harold Ramis,
 who starred with Bill Murray and Ernie Hudson. All of the principal cast
(except for Ramis, who died in 2014, and to whom the film is dedicated)
 pop up in cameos, as do three secondary actors (two made of flesh and bone,
 the other from sugar and gelatin)
— cloying appearances th de rigueur in remakes especially highlight
timidity of Feig’s project.


 Angie Han of /Film writes:
... not surprising, then, thatGhostbusters is at its best 
when it feels most like classic Feig. The early scenes — 
where our leads are just starting to come together 
but before the main supernatural plotline has really kicked in — 
are the strongest. Melissa McCarthy, Kristen Wiig, 
Leslie Jones, and Kate McKinnon have crackling chemistry together, 
and it’s a pleasure just to watch them hang out. Since Ghostbustersis PG-13,
 the humor is necessarily a bit cleaner, but on the whole
 the comedy doesn’t feel too different from Feig’s other work. 
Once again, it’s all about big personalities 
bouncing off of each other,
 launching into semi-improvised riffs 
and the occasional bit of slapstick-y physical comedy.


 From Vox, Caroline Framke writes,
 The reboot … strains so hard to prove it’s having a good time
 that its seams don’t just show, but start to tear apart under the pressure.
 But the situation isn’t always so dire. When the movie is at its best, 
it’s scrappy, eager to please, and — thanks to some superb comedic acting 
— deliciously strange.


 IGN’s Terri Schwartz writes:
> > I wanted to love this new Ghostbusters, but unfortunately it is just fine, though not for the reasons many would expect. The Ghostbusters themselves are great;
 Because Dan Akroyd and Ernie Hudson smoke one cigarette each 
in every scene of the second half of their film.


Kate McKinnon (the way she moves)
before even one punchline spills off her lips, 
this lady does with physical acting what bill Murray tries to do with his dialogue: 
swaggering, dipping, traipsing and bopping her way through the script


 Without a doubt, the most bizarre movie controversy of 2016 
is the disturbing and vehement attacks on Ghostbusters
 from what we can only assume are man-babies 
 being played by the guy who did the voice for Garfield the Cat 
(Lorenzo Music) and then, in the bulk of the later seasons, 
Dave Coulier, more relevantly known as Joey from Full House.
 Remember how cool it was when this guy did the voice of Peter Venkman?  
those were the days. right there. Uncle Joey played Peter Venkman
more times than Bill Murray did in the 80s. This means during the time
when haters would tell you that Ghostbusters was sacred and clean, it
seems to me, that its faux-reverent classiness was already played
for a cartoon that was  sacred. back in its original heyday. Again, I feel .
Nothing about the Ghostbusters brand has ever been Maybe you’re a
little bit younger. Or maybe you’re just the variety of fan who didn’t
watch the cartoon, but instead became more fixed on a perfect comedic

jewel which can’t be messed-with or replaced. Maybe you’re the kind of

‘Buster who gets reflexively hostile when the words “George” and
“Lucas” are mentioned to you 
The original Ghostbusters was not a
children’s film.
 In the 1984 film, Peter Venkman says to Ray Stanz, “I guess they
don’t make them like the used to.” To which Ray replies by slapping
Peter and saying, “No! Nobody ever made them like this!” Right here is
how we should view any nostalgia we might have for the original
Ghostbusters. It’s a weird aberration:
popular because it is unique, original,

 highly creative for its time,

extremely funny. It’s one of a kind. 

But, it’s also not deep or


This was a

popular comedy that
managed to sell some toys and spawned a

weird cartoon.
> > by Ryan Britt
> >
> > 'Ghostbusters' and the Truth of New York's Haunting History
> >
> > by Megan Logan
> >
> > The Ley Lines of 'Ghostbusters' Aren't Far From the Truth
> >
> > by Sarah Sloat
> >
> > 23m ago
> >
> > 5h ago

 The Ghostbusters' Business Plan Always Suck
Sigourney Weaver's Barking Fixed the plotline of a mad, power hungry disappointed genius human crossing over to the other side in order to wreak havoc and wield ultimate power over a world that has abandoned him creates a character driven bridge between real life and all the ghostys

> > >
> > > 25 Kate McKinnon
> > > (The things she says)

No comments:

Post a Comment