Tag: Carrie Coon

GHOSTBUSTERS: FROZEN EMPIRE – Review

Janine (Annie Potts), Peter (Bill Murray), Ray (Dan Aykroyd) and Winston (Ernie Hudson) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.

Suit up! Even though spring has finally sprung it doesn’t mean that all the spooks and specters are hiding out or in hibernation until the Fall and their holiday Halloween. And you know who you’re “gonna’ call”. Yes, it’s the return of a much-beloved film franchise, opting for an “earlier than Summer” release. Well, they are celebrating a rather big anniversary. Mind you, it’s just a few months short of three years since the last installment/revival/spin-off. No, I’m talking about the original, still-revered comedy/horror hybrid classic which will soon be forty years “young” (well, compared to the evil entities that cross their paths…and “streams”). So, let’s fire up Ecto-1 and see what the new teams and the OGs are up to in GHOSTBUSTERS: FROZEN EMPIRE.


After a wild prologue involving a certain NYC fire station answering the call to the ritzy Adventures’ Club way back in 1904, the “legacy team” is charging out of that same locale in the 21st century. By legacy, I mean the off-spring of Egon Spengler, daughter Callie (Carrie Coon), and grandkids Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace), joined by Callie’s Beau and Phoeb’s former teacher back in Oklahoma, Gary Grooberson (Paul Rudd). They’re all back in the Big Apple and out to contain a long slithery sewer serpent ghost. The ensuing damage earns the ire of Mayor Peck (William Atherton) whose threats of litigation cause Phoebe to be “benched” since she a minor of fifteen. Back at HQ, Gary is concerned with the structural damage around the original spectral containment unit. This prompts the kids to visit “Uncle” Ray Stantz (Dan Ackroyd) who operates a supernatural curio shop with another OK transplant, Podcast (Logan Kim). That same day, Ray gets a client, an anxious cash-hungry guy Nadeem (Kumail Nanjiani) who wants to sell his late granny’s spooky metal orb. Ray then takes the piece to the new ghostbuster research facility in one of the Burroughs (hidden in an old public aquarium) run by Winston Zedemore (Ernie Hudson) and his “right hand” Janine Melnitz (Annie Potts) with an assist from another OK pal Lucky (Celeste O’Connor). Turns out that the orb is a mini-prison for a centuries-old demonic entity that uses fear and ice to try to enslave the globe. When it gets loose, can the combined ghostbusting crews including Peter Venkman (Bill Murray) save the citizens of Manhatten from becoming frozen encased “people-cicles”?

Sure, it’s great that the 84′ team is more integrated into the story than in AFTERLIFE, but it makes all the characters input severely reduced in order to avoid going over the two-hour mark, Still, most of the roster makes an effort to build on the earlier entry. Although Phoebe is put on the sidelines for the second act, Ms. Grace brings more depth to the standard “teen brainiac” as she hurries into adulthood. This lets us in on a secret friendship she’s forged with a (sorry Casper) friendly ghost, more than a century-old teen Melody (Emily Alyn Lind), a chess partner in the pre-dawn Central Park. Their bond is strong though Phoebe knows that will end soon. Rudd exudes lots of his energetic charm as Gary, though the romance with Coon’s Claire doesn’t have the sparks that flew in Oklahoma. Wolfhard is the surly teen who just wants the keys to Ecto-1 and finds a nemesis in a familiar green glutenous ghost. Ackroyd appears to be having a grand time rattling off paranormal trivia and finds a great new screen partner in the always entertaining Patton Oswalt as a translator of ancient languages. The most laughs in the surprisingly somber flick are generated by Nanjiani as the on-the-make slacker who finds that embracing his heroic heritage is more rewarding than cashing in on his heirlooms. He even holds the comedic focus sharing a scene with Murray, who doesn’t seem to be that invested in his two extended cameos (maybe he’s there in tribute to his late co-star and directing pal…and a chunk o’ change). And Atherton remains a perfect patsy and an irritating “wet blanket” as Peck (now that’s a long trek from the EPA to the mayor’s office). Hudson is still an MVP along with (and welcome back) Ms. Potts.


Taking over the director’s chair is a screenwriter from the last film, Gil Kenan who also co-writes this time with Jason Reitman. Wisely he takes the action out of the “dustbowl” and returns to the zany playground of NYC, making it look as though it’s not that different from the ’80s. Plus that nifty prologue and the first “bust” remind us of the pleasures of the whole franchise. Unfortunately, the flick hits a long lull as the “pieces” are put into place for the big effects finale. The idea of an unlikely friendship between “buster” and ghost is intriguing, but it merely becomes a “plot device” to hasten disaster. Back to those effects, the producers do a fairly decent job of replicating the practical effects of the first two flicks with the new CGI tech and manage to make many of the spirits very scary and gruesome. And it’s all put to use in a finale “throwdown” that feels a touch cramped as it’s all within one building rather the bustling streets or the towering skyline, with one character doing the whole superhero shooting power from the fingertips thingee. Speaking of, comic book films have been accused of indulging in too much “fan service”. This film says, “Hold my beer..er..Ecto Hi-C”. We get a phony news report that not only uses footage from those previous flicks but includes the music video and clips from the merchandising commercials (toys, cereals, etc.). Then throughout the film, the Elmer Bernstein music cues are hit hard and often (the piano, then the the therimen, then both with the horns). And like most current franchises, there’s a mid-credits bonus scene that’s just “meh”. But the hardcore fans will be delighted, though any “newbies” seeing this somewhat lackluster outing won’t be shopping for their own jumpsuits and proton packs after taking in GHOSTBUSTERS: FROZEN EMPIRE. On your way out, don’t slip on the “slime”…

2.5 out of 4

GHOSTBUSTERS: FROZEN EMPIRE is now playing in theatres everywhere

Win A Family 4-Pack Of Passes To The St. Louis Advance Screening GHOSTBUSTERS: FROZEN EMPIRE 

In GHOSTBUSTERS: FROZEN EMPIRE, directed by Gil Kenan, the Spengler family returns to where it all started – the iconic New York City firehouse – to team up with the original Ghostbusters, who’ve developed a top-secret research lab to take busting ghosts to the next level. But when the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second Ice Age.

Written by Gil Kenan & Jason Reitman, the latest chapter is based on the 1984 film “Ghostbusters” an Ivan Reitman film written by Dan Aykroyd and Harold Ramis.

The cast includes Paul Rudd, Carrie Coon, Finn Wolfhard, Mckenna Grace, Kumail Nanjiani, Patton Oswalt, Celeste O’Connor, Logan Kim, Bill Murray, Dan Aykroyd, Ernie Hudson and Annie Potts.

GHOSTBUSTERS: FROZEN EMPIRE opens in movie theaters March 22.

The special screening is 7:30pm on Tuesday, March 19 at Ronnie’s 20 Cine in IMAX.

Please arrive early as seating is not guaranteed.

TEN winners will receive 4 passes to the screening.

GET YOUR PASSES HERE: https://events.sonypictures.com/screenings/unsecured/main/screeningInfo.jsf?code=0DO2OYG610

This film is rated PG-13 by the Motion Picture Association for the following reasons: supernatural action/violence, language and suggestive references.

Janine (Annie Potts), Peter (Bill Murray), Ray (Dan Aykroyd) and Winston (Ernie Hudson) in Columbia Pictures’ GHOSTBUSTERS: FROZEN EMPIRE. © 2023 CTMG, Inc. All Rights Reserved. Phot by: Jaap Buitendijk

Watch The Brand-New GHOSTBUSTERS: FROZEN EMPIRE Trailer – In Theaters March 22

Bill Murray and Paul Rudd on the set of Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.

“Ghostbusters…whaddya want?!” The all-new GHOSTBUSTERS: FROZEN EMPIRE trailer is here.

In the movie, directed by Gil Kenan, the Spengler family returns to where it all started – the iconic New York City firehouse – to team up with the original Ghostbusters, who’ve developed a top-secret research lab to take busting ghosts to the next level. But when the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second Ice Age.

Written by Gil Kenan & Jason Reitman, the latest chapter is based on the 1984 film “Ghostbusters” an Ivan Reitman film written by Dan Aykroyd and Harold Ramis.

The cast includes Paul Rudd, Carrie Coon, Finn Wolfhard, Mckenna Grace, Kumail Nanjiani, Patton Oswalt, Celeste O’Connor, Logan Kim, Bill Murray, Dan Aykroyd, Ernie Hudson and Annie Potts.

GHOSTBUSTERS: FROZEN EMPIRE opens in movie theaters March 22.

Slimer in a trash pile in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE. Courtesy of Sony Pictures

Janine (Annie Potts), Peter (Bill Murray), Ray (Dan Aykroyd) and Winston (Ernie Hudson) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.

Winston (Ernie Hudson) and Peter (Bill Murray) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.

Lucky (Celeste O’Connor), Nadeem Razmaadi (Kumail Nanjiani), Trevor (Finn Wolfhard) and Lars Pinfield (James Acaster) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.

Phoebe Spengler (Mckenna Grace) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.

Gary Grooberson (Paul Rudd) and Callie Spengler (Carrie Coon) in Columbia Pictures’ GHOSTBUSTERS: FROZEN EMPIRE.

Paul Rudd, Carrie Coon, Mckenna Grace and Finn Wolfhard on the set of Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.

© 2023 CTMG, Inc. All Rights Reserved.
Photos By Jaap Buitendijk

GHOSTBUSTERS: FROZEN EMPIRE First Trailer Is Here And Who Ya Gonna Call… Bill Murray, Dan Aykroyd and Ernie Hudson

© 2023 CTMG, Inc. All Rights Reserved. **ALL IMAGES ARE PROPERTY OF SONY PICTURES ENTERTAINMENT INC. The firehouse freezes over in New York City in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.

Bill Murray, Dan Aykroyd and Ernie Hudson reunite in the first teaser for GHOSTBUSTERS: FROZEN EMPIRE.

In GHOSTBUSTERS: FROZEN EMPIRE, the Spengler family returns to where it all started – the iconic New York City firehouse – to team up with the original Ghostbusters, who’ve developed a top-secret research lab to take busting ghosts to the next level. But when the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second Ice Age.

Based on the 1984 film “Ghostbusters” an Ivan Reitman film written by Dan Aykroyd and Harold Ramis, GHOSTBUSTERS: FROZEN EMPIRE is directed by Gil Kenan and written by Jason Reitman & Gil Kenan

Stars Paul Rudd, Carrie Coon, Finn Wolfhard, Mckenna Grace, Kumail Nanjiani, Patton Oswalt, Celeste O’Connor, Logan Kim, Dan Aykroyd, Ernie Hudson and Annie Potts. The film hits theaters March 29, 2024.

BOSTON STRANGLER – Review

(L-R): Carrie Coon as Jean Cole and Keira Knightley as Loretta McLaughlin in 20th Century Studios’ BOSTON STRANGLER, exclusively on Hulu. Photo by Claire Folger. © 2022 20th Century Studios. All Rights Reserved.

Do you recall what kind of viewing was all the rage when most of us were stuck indoors during the big pandemic a couple of years ago? Well, aside from a fictional fable of a chess whiz, it was true crime streaming TV. Of course, many folks still love to binge these often multipart documentaries. And one has become a docudrama, about that Tiger King. A good number of them concern that thriller staple of the last three or four decades, the serial killer. So when did this “boogeyman” enter the zeitgeist? You could go all the way back to Jack the Ripper. Well, this new film is about his American cousin who was a terror of the early 1960s. he even got the big Hollywood treatment 55 years ago. But here’s a new take in which he’s a supporting player since this story mostly concerns the two intrepid news reporters that aided in the capture of the BOSTON STRANGLER.


This version of the tale actually begins with a murder in a state far away from “Beantown” as Det. DeLine (Rory Cochrane) discovers the horrific aftermath of a disturbance call at an apartment building. From there we jump back a few years to the cold Eastern US streets in early 1963. Loretta McLaughlin (Keira Knightley) is becoming frustrated in her job writing for the Boston Record America. She yearns to be part of the “crime beat’, like Jean Cole (Carrie Coon). Instead, the paper’s editor Jack Maclaine (Chris Cooper) thinks that she (and other female reporters) are better suited to cover fashion shows and test new toasters. But Loretta’s been following a series of murders that have been “buried” from the front page. Since the Summer of 62,’ a couple of (mostly older) single women were found strangled with their pantyhose (looking like a “gift bow”) with almost no evidence or signs of forced entry into their homes. Loretta locates the local “cop bar” and finds a sympathetic ally in Det. Conley (Alessandro Nivola), who thinks his bosses are “dragging their heels”. Finally, Loretta brings her research to Jack, who dismisses it because he doesn’t want to antagonize the police and city hall. But the murders continue, and Jack finally gives her the go-ahead, but she’ll be paired with Jean. As their stories are now front page fodder, Jack decides to promote the pair as his crimebusting Lois Lanes. But will their byline and publicity stills put a target on their backs for the fiend they’ve labeled (replacing “phantom”), the Boston Strangler?

As you might have surmised, the story’s main character isn’t the title one, but rather it’s Knightley as the dogged reporter. We can almost see her Loretta roll her eyes when she’s handed a “puff piece” and later attempt to hide her annoyance at home with her kids and hubby. When she begins really digging, she plows through the sexist barriers that the police and her “higher-ups’ try to block her questions (shades of Hildy Johnson). Extra kudos to Knightly for nailing the Yank accent without drifting into the “caar in the yaard” cliches. Ditto for his ink-stained partner Coon as the seasoned writer Jean. She tries to temper Loretta’s zeal, but slowly we see that Jean’s own passions are re-ignited by the forced pairing. Plus her tenure gives her the chutzpah to go toe-to-toe with her grizzled overseer, editor Jack played with gruff and gravitas by the always compelling Cooper. He’s an old newshound who, bit by bit, sees the need for “fresh eyes” as he goes out on a limb, risking the ire of the owner and city hall, to scoop his rivals. Plus he’s not above a little “razzle dazzle’ as he sees a way to exploit his staff’s “novelty” (the duo as a “sidebar'”is an extra “grabber”). Also a bit terse is Nivola, as the best cop who doesn’t want to “make waves”, but has to get the killer, even if it means tossing “off the record” info to Loretta. We see a growing mutual respect build between the two, even as Conley tells her to tell the station operative that she’s his sister. And of note is Morgan Spector as Loretta’s husband James, who gushes with pride over his wife’s works until he winces as he eats away at her time with him and the kids.

Although it’s been several months since the previous film’s release, this could almost be seen as a “prequel in spirit” to the under-appreciated SHE SAID, as both involve hyper-focused female newspaper reporters. However, this new take on a long, long ago investigation has strong elements of a classic whodunit, while also highlighting the sexist attitudes in the days before the women’s liberation movement. In the newer film, we know who the “perp’ is, while Jean and Loretta wonder who may be “tailing” them, perhaps to add to an ever-growing morgue list. The women are brave, but they know when to skirt danger, as Loretta decline one creep’s invitation to his “lair”. This well-crafted true-crime drama is told with great skill by writer/director Matt Ruskin, eschewing the exploitative tone of the 1968 potboiler. The mood and the settings take us back to the early 60s, from the newsroom alive with a typewriter “symphony” to the cold, dark desolate streets that hide a maniac. Oh, if you think you know the real story from the Tony Curtis flick, well you’re in for lots of shockers. While last year’s movie has a true finality (though the Weinstein case is still active), this one hints that it may be too late for a real “solution”. But with this superb cast and expert execution, there should be a new spot on the list of newspaper crime dramas, alongside ZODIAC, ALL THE PRESIDENT’S MEN, and SPOTLIGHT for BOSTON STRANGLER.

3.5 Out of 4

BOSTON STRANGLER streams exclusively on Hulu beginning on March 17, 2023

BOSTON STRANGLER Starring Keira Knightley, Carrie Coon And Chris Cooper Hits HULU March 17

Carrie Coon as Jean Cole in 20th Century Studios’ BOSTON STRANGLER, exclusively on Hulu. Photo courtesy of 20th Century Studios. © 20th Century Studios. All Rights Reserved.

“Boston Strangler,” 20th Century Studios true-crime thriller from writer-director Matt Ruskin about the trailblazing reporters who broke the story of the notorious Boston Strangler murders of the 1960s, will premiere March 17, 2023, exclusively on Hulu in the U.S., Star+ in Latin America, and Disney+ under the Star banner in all other territories.

“Boston Strangler” stars two-time Oscar® nominee Keira Knightley (“The Imitation Game,” “Pride & Prejudice”), Emmy® nominee Carrie Coon (“Fargo,” “The Gilded Age”), Alessandro Nivola (“Amsterdam”), David Dastmalchian (“Dune”), Morgan Spector (“Homeland”), Bill Camp (“Joker”), and Academy Award® winner Chris Cooper (“Adaptation”). Written and directed by Matt Ruskin (“Crown Heights”), the film is produced by Ridley Scott (“The Martian”), Kevin J. Walsh (“House of Gucci”), Michael Pruss (“American Woman”), Josey McNamara (“Promising Young Woman”), and Tom Ackerley (“I, Tonya”), with Michael Fottrell (“The Fate of the Furious”) and Sam Roston serving as executive producers. Sam Roston will oversee for Scott Free and Bronte Payne for LuckyChap.

Keira Knightley as Loretta McLaughlin in 20th Century Studios’ BOSTON STRANGLER, exclusively on Hulu. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

The film follows Loretta McLaughlin (Keira Knightley), a reporter for the Record-American newspaper, who becomes the first journalist to connect the Boston Strangler murders. As the mysterious killer claims more and more victims, Loretta attempts to continue her investigation alongside colleague and confidante Jean Cole (Carrie Coon), yet the duo finds themselves stymied by the rampant sexism of the era. Nevertheless, McLaughlin and Cole bravely pursue the story at great personal risk, putting their own lives on the line in their quest to uncover the truth.

ABC Audio, a division of ABC News, will release a true crime companion podcast about the Boston Strangler ahead of the film’s debut on Hulu. The three-part narrative series will be hosted by award-winning journalist and former Boston Globe reporter Dick Lehr, who knew Loretta McLaughlin and has reported on the Boston Strangler case. The podcast will delve into the backstories and tragic fate of the victims linked to the Boston Strangler case and explore why these half-century-old killings remain the subject of so much fascination. It will be available for free on all major podcast platforms.

(L-R): Carrie Coon as Jean Cole and Keira Knightley as Loretta McLaughlin in 20th Century Studios’ BOSTON STRANGLER, exclusively on Hulu. Photo by Claire Folger. © 2022 20th Century Studios. All Rights Reserved.

GHOSTBUSTERS: AFTERLIFE – Review

Mr. Gary Grooberson (Paul Rudd) with Podcast (Logan Kim) and Phoebe (Mckenna Grace) in Columbia Pictures’ GHOSTBUSTERS: AFTERLIFE.

What at first seems to be a nostalgic multiplex return trip to a much-beloved flick from decades ago, actually begs a somewhat interesting question. When a reboot (or “re-imagining”) doesn’t “take” at the box office, can the studios have a “do-over”? Well, it somewhat happened in 2003 with what was really a TV property based on a comic book property. Audiences didn’t embrace Ang Lee’s fairly artsy (and cerebral) take on the HULK, so many were skeptical when the then head of Marvel Avi Arad said they’d be back. And they were in 2008 with THE INCREDIBLE HULK which built on the fan base for IRON MAN and laid the groundwork for the MCU (Doc Banner’s a big “player” there to this day). Jump ahead to 2016 when a new “spin” on an iconic 1980’s fantasy/comedy incurred the “wraith of internet fan-boys” and did a B.O. nose-dive (and it really was undeserving of the vitriol). So Sony now wants to find out if part of the title rings true for its franchise as it goes back to the “drawing board” with GHOSTBUSTERS: AFTERLIFE.

Oh, but we’re not back in the Big Apple where the other series entries were set. Nope, we’re many miles east as a battered old truck careens through the sleepy streets of Summerville, OK as though something was on its tail. It dashes off the “hard-top” onto a dirt road leading to a ramshackle farmhouse. Leaping from the vehicle, its shadowy driver gathers up some strange, but somewhat familiar device, to battle this unseen force. But they’re of no help. Cut to a much larger city as single mother Callie (Carrie Coon) gets word that her long-absent father has passed and left her his home. Since they’re behind on the rent, she hits the road with teen son Trevor (Finn Wolfhard) and pre-teen “whiz kid” Phoebe (McKenna Grace). They’re underwhelmed by the Summerville estate, but since they’re locked out of their previous place (back rent), they’ve got to make the best of it. While Trevor applies for a job at the local burger drive-in, to be close to the cute server Lucky (Celeste O’Connor), Phoebe attends Summer school. There she befriends the energetic Podcast (Logan Kim) and bonds with her teacher Gary Grooberson (Paul Rudd) over the sudden frequent seismic tremors. Back at the house, she discovers hidden labs full of old charts and intricate, though outdated, machines and data collectors. Meanwhile, Trevor starts tinkering with the vintage vehicle in the garage (and what’s with that logo on its side). The tremors appear to be emanating from a nearby closed mine. So what was Grandpa doing there? And what was his connection to a legendary supernational event back in 1084 NYC?

Though the film is dotted with familiar faces (yes, the OGs are present), its biggest strength comes from the excellent performance by young Ms. Grace. Though mainly known for playing the “child” versions of title characters (I, TONYA, and CAPTAIN MARVEL), she builds on the promise we saw in the “under the radar” gem GIFTED. As Phoebe, the coolest “kid brainiac” around, she’s got a sly snarky line delivery that shields her from the dangers of “evils beyond science”. She’s so cool that she’s never “out-cooled” by the always engaging Rudd, who turns the charm dial way up past 11. Who wouldn’t want a teacher so laid-back, popping 80s scare flicks into the ancient VHS player as the “daily lesson” (too bad he didn’t have MAC AND ME)? Plus he’s got an enthusiastic curiosity that matches the “new kids in town”, even ‘Phebe’s’ awkward “hormone-hyped” teen brother played with a smitten daze by Wolfhard. Sure he’s a more mature variation of his “Stranger Things” role, but he’s an endearingly clueless doofus, especially around O’Conner’s Lucky, his ultra-cool dreamgirl who befriends him. But one of the characters must deal with ghosts of the past along with the present. Coons as mom Callie still projects a tragic vibe even as she guides her kids with humor, though everything in their new home is a reminder of the father who was never there. After scene-stealing turns in GONE GIRL and THE NEST, it’s great to see this talented actress again on the big screen (though she was CGI-enhanced in the last two AVENGERS epics).

After the franchise fans were so “riled up” five years ago, this “retry’ feels almost like a “we’re sorry” cinematic greeting card as it almost bursts with nostalgic reverences for those earlier flicks. The new music score by Rick Simonsen presents several clever “riffs’ on Elmer Berstein’s iconic themes. And the film deals with the legacy of the first film even down to the man behind the camera, It’s Jason Reitman, son of the original director Ivan (he also co-wrote the script with Gil Kenan), quite a change from his more “down to Earth” fare like JUNO and UP IN THE AIR. He handles the big action set pieces well, though the interplay between the family (and Phoebe and Gary) resonate more, This “keys in” into the fairly radical approach to the series, in making it more “kid-friendly”, though it has the PG-13 rating, it may be more for the spooky stuff (there’s a couple of good “jump scares”). At times it recalls the “teen gang’ films like EXPLORERS and THE GOONIES that may have occupied the screens next to the first couple of entries. Unfortunately, it also recreates the often sluggish pace of those films, as it enters a “midway slump” which saps the energy and derails the flow. It then seems as though plot points and effects are being “checked off” a big “fan service”.clipboard. “Slimer”-style funny spectre-check. Demonic dogs-check. I will say that the twist on the first film’s towering threat is pretty clever and very well done. But after that bit of whimsy, the piece just trudges along to the mandatory “showdown” and “reconciliation” (which includes some off-putting CGI resurrection). Yes, the franchise’s fervent “base” will enjoy this one more, but it’s a pleasant “look back’ there’s not much to warrant a look forward (as the post-credits scene hints). GHOSTBUSTER: AFTERLIFE will “scare up” a few bucks, but it’s not enough to get new “recruits’ into the jumpsuit and strapping on the “proto-packs”.

2.5 Out of 4

GHOSTBUSTERS: AFTERLIFE is now playing in theatres everywhere

1-sheet of Columbia Pictures’ GHOSTBUSTERS: AFTERLIFE.

GHOSTBUSTERS: AFTERLIFE Trailer Is Here!! Listen To Jason Reitman Breakdown The Video – Arrives In Theaters November 11

Director Jason Reitman with Mckenna Grace in the new Ecto-1 jumpseat on the set of GHOSTBUSTERS: AFTERLIFE.

From director Jason Reitman and producer Ivan Reitman, comes the next chapter in the original Ghostbusters universe. In GHOSTBUSTERS: AFTERLIFE when a single mom and her two kids arrive in a small town, they begin to discover their connection to the original ghostbusters and the secret legacy their grandfather left behind. The film is written by Gil Kenan & Jason Reitman.

Check out the brand-new trailer now.

The new film, which we are super excited for, is based on the 1984 film “Ghostbusters,” an Ivan Reitman film written by Dan Aykroyd and Harold Ramis.

Starring Carrie Coon, Finn Wolfhard, Mckenna Grace, Annie Potts and Paul Rudd, GHOSTBUSTERS: AFTERLIFE is scheduled to open in movie theaters November 11, 2021.

Listen as the trailer talks about the film and what’s up in the new preview.

This film is rated PG-13 by the Motion Picture Association for the following reasons: supernatural action and some suggestive references.

https://www.ghostbusters.com/

Phoebe (Mckenna Grace) and Podcast (Logan Kim, left) fire a proton pack for the first time in Columbia Pictures’ GHOSTBUSTERS: AFTERLIFE.

THE NEST (2020) – Review

With the start of Autumn just a few days away, it’s time to get serious at the cinema. Though with this year’s unique (to say the least) circumstances we didn’t get much in the way of escapist “popcorn” flicks this Summer. But the big awards films are beginning to trickle in, and so we’re given this somber drama all about the “unraveling” of a marriage. At this time last year, the Netflix-produced feature, appropriately titled MARRIAGE STORY, ended up with many such trophies as it told the tale of the “uncoupling” of a duo (with a son). It did deal with the reasons for the “break”, mainly one half’s ‘loss of individual identity” along with the element of infidelity. That’s a big reason for splitting in most dramas, along with abuse (substance and physical/verbal). But, the movies haven’t often dealt with a big reason for marriage tension, one that usually lands in the top three “conflict causes” in polls and surveys: money. Or mainly financial management, as the “monthly budget” becomes the “weak link” in the family “chain”. And in this case, “filthy lucre” ignites a flame that threatens to consume THE NEST.


It’s the mid-1980’s and transplanted Brit Rory O’Hara (Jude Law) seems to be living “the good life”. He’s running the household in the suburban US while his gorgeous “Yank” wife Allison (Carrie Coon) manages a stable/equine training center (she’s also an instructor there). They have a good-natured ten-year-old son Benjamin (Charlie Shotwell) who loves playing soccer with his pals and Dad, and they’re raising Alison’s teenage daughter from a previous relationship, Samantha (Oona Roche), who’s an aspiring gymnast. Ah, but it’s not really enough for Rory. And so he drops a “bomb” on his wife as he wakes her with her morning tea. They’re going to move…to London. Allison’s blindsided as they’re been in four different houses over the last ten years. Ah, but this is different since Rory’s old financial guru boss wants him to run a new branch (Rory was quite a commodity brokerage wiz). And he moved to the states so she could be near her family, after all. So, while Rory sets things up “across the pond”, Allison packs up the kids and even ships her personal beloved horse Richard. They’re reunited when a cab brings the trio to the new digs Rory has rented: a plush farm/estate in Surrey. It’s hundreds of years old and massive. But there’s a big soccer field for Ben, and contractors are hired to build a stable for Richard (Allison may open her own equine business. Everything seems to be going well, but work’s not increasing at the firm as quickly as Rory hoped. Then the utilities are shut off (non-payment) and the carpenters don’t show up (ditto). Has Rory been truthful about this “new start”? Will the kids fit into these fancy schools? Are the O’Haras “in over their heads” culturally and financially?

The downbeat family fable rests on the very nuanced performances of the lead duo. Law plays on his still-dashing leading man looks to give us a compelling take on the “alpha dogs’ of the Reagan era, a man who’d be striving to get the attention of a Gordon Gecko, perhaps even emulating his style. Rory seems to believe his charisma and charm can still propel him to the very top even as he tries to control his career frustrations and keep his marriage “on course”. If only his spouse didn’t see right through his puffery and empty bravado. Coon builds on her impressive TV and film resume (still think she should’ve gotten an Oscar nom as the sister in GONE GIRL) with her focused confident and hard-hitting work as Allison. She shows us the conflict in her, putting on the supportive brave face for Rory, trying to keep the family working, but preparing herself for the worse. A heart-wrenching tragedy mid-story bolsters her courage, calling Rory on his “BS” while trying to nurture her kids. Ben needs her more than ever, even as Sam pushes her away. You can’t take your eyes off Allison with Coon’s electrifying turn. As for their kids, Roche subtly slides from approachable older sis to a snarky hellion determined to “go off the rails”, while Shotwell exudes a sweet vulnerability as Benjamin, who can feel the parental tensions more than they think. There are several engaging supporting players at Rory’s work, particularly his old pal Steve whom Adeel Akhtar plays with a weary affability, happy to see his old “mate” but leery of his affectations, and the big boss Arthur Davis (Michael Culkin) who seems to enjoy having his “attack dog” Rory back at his side, but is quick to crack the whip when he crosses the line, seething as he calls him “Sunny Jim’ through clenched teeth. The big scene-stealer (only one scene, but it’s a “corker”) is Anne Reid as Rory’s disenchanted Mum (he has told all that his family is gone) who is exhausted from his empty promises and denies him the warm maternal embrace he believes he’s owed.

Welcome back Sean Durkin, who has directed and written his first feature film since his debut in 2011 with the haunting MARTHA MARCY MAY MARLENE (he’s worked in the last few years on the TV mini-series “Southcliffe”). He builds on his strengths with quiet staging that lingers long after the final fade-out. Like that former film, he permeates the atmosphere of every setting with a feeling of doom and dread, all while subtlely foreshadowing the big conflicts. When Rory makes the move announcement Allison immediately commands him to perform a sexual impossibility. Later, upon minutes of arrival, she unpacks at the “palace” and scurries about looking for a place to hide her jewelry box that is built with a “fake bottom” for hiding her cash stash. Durkin doesn’t shy away from the more brutal and brittle scenes of passive aggression as when she torpedoes his idea for a “city flat’ and follows it up with a truly unpleasant Lunch (a later Dinner with potential clients is even more volatile). I only wish the film were a bit more cinematic, breaking up some scenes with more close-ups and medium shots allowing us to watch the actors’ body language and expressions. And I understand that the ’80s were a different time, but I found Allison’s relentless chain-smoking tiresome and more than a little nauseating (off my soapbox now). The plot may not be the uplifting sort of tale that many filmgoers hope to experience, and more may feel frustrated by the “open-ending”, but the performances by this superb cast make THE NEST an engaging if somewhat depressing look at a family shaken to its core.

3 out of 4

KIN – Review

Last week in my review of SCOTTY AND THE SECRET HISTORY OF HOLLYWOOD I made a case for documentary features that seemingly change direction, when events push a cinema profile down another path. This week sees a similar course recalculation, but in a narrative feature (though the film makers, not fate and destiny are “pulling the strings”). Here’s a story that reeks of “grim and gritty indie”, but involves an element of science fiction and fantasy. Hey, it worked for a little flick called E.T. THE EXTRA-TERRESTRIAL, which starts out as an lost alien fable which then abruptly collides with a suburban family drama of a lonely boy dealing with an absent father. So, is this new mash-up a tasty treat ( to borrow from the old Reeses Cup ad, “You got sci-fi in my coming of age road flick!” “Well, you got…”), or is it one of those craft brewed gravy-flavored soda pops (yeesh)? Since it’s one of the cinema year’s “limbo weekends”, too late for a Summer blockbuster, too early for somber prestige Fall “award bait”, the studios are throwing this combo platter at multiplex screens to see if it “sticks” with the public. And with the somewhat generic title of KIN, this may be a bit of a challenge, though some may favor that mysterious moniker.

The start of this story fully embraces the “double G’s”. The modern day streets of Detroit are very “grim and gritty”, as if snatched from another Michael Moore doc about his home state. Peddling through those streets is pre-teen Eli (Myles Truitt), now suspended from school after getting into a fight. On the way home, he climbs through the busted gate surrounding a decaying warehouse to rip some copper wiring out of the walls. After selling it to a junk dealer, he heads to another empty factory and finds a body. Then several. But they’re all attired in black leather jump suits, and wearing slick futuristic full-head helmets right out of a “shooter” video game. On impulse, Eli scoops up a box-like, hi-tech rifle, which somehow responds to his touch, lighting up a holographic scope. He’s got no time to really fiddle with it, as his Pop, now only parent, construction worker Hal (Dennis Quaid) is due home from work. Eli wraps up his “prize” and arrives in time to greet his long absent older brother, now ex-con, twenty-something Jimmy (Jack Reynor). The homecoming meal is a tad tense, so Jimmy excuses himself to take care of business. This leads to another tense meeting with crime kingpin Taylor (James Franco), who wonders when Jimmy will repay his debt, a whopping sixty grand for keeping the young man “safe” while in the “joint”. Needless to say, Jimmy’s request for a loan from Hal doesn’t go well. This leads to a botched crime, followed by violence and tragedy. Fearing for his brother’s safety, Jimmy picks up Eli, lying about taking a a Lake Tahoe vacation (Dad will join them there as soon as his “big job” is done), and the two are on the road, with Eli’s “acquisition” wrapped with his clothes. Taylor and his army of heavily armed thugs are hot on their tail, along with the authorities. That’s not all. Two helmeted, military types appear at the place where Eli grabbed the ‘weapon’. Using some weird gizmos these “trackes” pinpoint the location of the device. Can the two brothers on the run possibly evade all the forces racing after them? And just what can Eli’s new toy do?

The often convoluted story is strongly anchored by the nuanced, star-making performance by Truitt. His Eli is the film’s beating heart, capturing nearly the complete range of human emotions. At first, he seems to be a confused soul, unable to “fit in’, thinking of himself as a “misfit”. Then, there’s his child-like sense of wonder as he discovers the almost magical “alien” tech. Best of all, might be the vulnerability that Truitt brings to Eli, the most reluctant of heroes. It helps that he has real chemistry with Reynor as his “big brother. Reynor’s endearing as the “bad boy’ trying to set things right, though he’s not capitalized on the charm he projected two years ago as a more memorable sibling, the “pop music Yoda” of the little gem SING STREET. As for the most big name cast mates, well, they seem to be doing variations of previous roles. The always compelling Quaid is the hard-working, salt-of-the-Earth everyman he’s taken on in films and on TV for the last dozen years or so. Franco’s the scuzzy, hare-trigger low life he played as Jason Statham’s nemesis in HOMEFRONT (minus the bayou twang with a touch of the “Alien” from SPRING BREAKERS). And what of the talented Zoe Kravitz, “working the pole” once again (just like the “Angel” of X-MEN: FIRST CLASS) as yet another “exotic dancer with a heart of gold” (replacing the old cliche of the “soft-hearted” hooker)? Her role seems to be a plot device, her “rescue’ setting the stage for a big action set piece, then frolicking in a trite “road trip” bonding montage. Let’s hope she leaves these “eye candy” characters in the past. Another gifted actress, Carrie Coon, gets a big credit, but she merely arrives in the last minutes as a typical, “tightly-wound” FBI agent, who barks out orders . These screen vets deserve better.

First time feature directing duo Johnathon and Josh Baker (who also provided the script with Daniel Casey) expand on their short film “Bag Boy” as they attempt to merge different styles. Their best efforts arrive early, as we’re introduced to the hard-scrabble, “barely gettin’ by” life of Eli, Hal, and Jimmy. Their working class life feels “right” on screen. This makes the shift to the SF elements so jarring. For fans of the action genre, it feels like an eternity before the “pay off” of the weapon’s firepower. Eli wrecking havoc with his “blaster’ is fun for a bit, but the transformation from lonely street survivor to “space age” sharpshooter makes the story shift too abrupt. Then there’s the tough guys antics of Taylor’s crew, from public urination to an all-out attack on a police station…in Nevada…riiiight…the same heavily armed protectors of casinos…uh uh. Too much of the final act plays as a ludicrous parody of ASSAULT ON PRECINCT 13, mixed with more TERMINATOR homages (Eli even plays the arcade game based on that iconic flick). Throw in some time travel “mumbo-jumbo”, and the film collapses on itself like a flimsy house of cards (or 1990’s video tapes and game cartridges). Maybe it all played better as a short subject, because at just over 100 minutes KIN, and our interest, is stretched pretty thin.

2 out of 5