We wanted to treat it respectfully, and give people access points, so they could feel like whatever age they were when they first saw Ghostbusters. “And you realise the amount of connective tissue that people have with this film, it’s not just about a song, it’s not just about these four guys wearing their flight suits, it’s also the car, it’s even about the noise that the car siren makes, the terror dogs, the iconography, the Gozerian temple, all of it. There’s pressure that comes with that, and it’s not about letting yourself down as much as letting down everyone who loves this franchise. “And from the moment I picked it up, I realised I was picking up something that I could not drop. “This is the one film I’ve made that never belonged to me,” he says. But Phoebe, who is a clever, curious girl, finds a basement laboratory and realises that her granddad was a Ghostbuster.īut for Jason, whose credits include Juno, Up in the Air and Young Adult, Ghosbusters: Afterlife represented a very different challenge. From the local townsfolk they discover that the old man was an eccentric and recluse, and that all he has left them is a pile of debts. When single mum Callie Spengler (Carrie Coon) finds out that her estranged father has died, she moves with her two teenage kids Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard) to her dad’s ramshackle farm.
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Ghostbusters: Afterlife is set in the present, but has the charm and wholesomeness of one of those 1980s family adventures that Hollywood no longer knows how to make. Now, almost 40 years and two indifferent sequels later, Ivan’s son Jason has created a surprisingly emotional and soulful new instalment that captures some of the exuberance of the original. It made a big splash when no one was expecting it to, except perhaps for its director, Ivan Reitman.
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But in fairness, the movie itself was pretty darned good.īased on a daft but undeniably original idea by Dan Ackroyd, Ghostbusters had a decent script, a goofy charm, some groundbreaking effects and an excellent cast, led by Bill Murray in his pomp and including Ackroyd, his co-writer Harold Ramis, Ernie Hudson, Rick Moranis and Sigourney Weaver. as was the film to whose coat-tails that insidious ditty so tenaciously clung. For a short but excruciating time it was omnipresent, in discos, pubs, supermarkets, lifts. Anyone who was sentient in the mid-1980s will remember with a chill the opening bars of Ray Parker Jr’s hit song Ghostbusters.