If there’s something weird and it don’t look good, you may well be watching Ghostbusters: Frozen Empire.
In a move reeking of creative and intellectual bankruptcy, which usually goes with attempts to stave off the far more literal kind, Sony has followed hot (well, comparatively) on the heels of 2021’s Ghostbusters: Afterlife with the kind of cash grab quickie sequel which aims to catch the zeitgeist (which is rather ironic, given the subject matter), yet falls so far wide of the mark at times as to nearly drop completely off the map. The rush to commission a follow up to something which actually failed to set the overseas box office on fire shows that far too often nowadays – in Hollywood terms – when the light is green, the crap is seen.
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Picking up from the threads of Afterlife’s post-credits scene which saw former Ghostbuster Winston Zeddemore (Ernie Hudson) prepping to bankroll a whole new spectre smashing operation and reopen the Manhattan ex-firehouse base, the Spenglers – Phoebe (Mckenna Grace), Callie (Carrie Coon) and Trevor (Finn Wolfhard) – along with Gary Grooberson (Paul Rudd) have moved to New York City and become a new generation of Ghostbusters. However, their approach to the pursuit of paranormal phenomena and pests has run afoul of the metropolis’ mayor, Walter Peck (William Atherton), and their cards are truly marked.
As a minor, Phoebe ends up having to be benched from any further busting activity, despite seeing it as her calling, and the continuation of her late grandfather Egon’s legacy. At a loose end, she finds herself befriending a teenage ghost by the name of Melody (Emily Alyn Lind), who seems to really get her. Meanwhile, Ray Stantz (Dan Aykroyd) purchases a mysterious orb brought to his store by Nadeem Razmaadi (Kumail Nanjiani), after being found amongst the various belongings at his late grandmother’s apartment. The orb’s PKE readings are off the spectrum, and it looks set to bring about the return of an ancient evil.
After many decades of failed attempts to try and resurrect the Ghostbusters franchise – including the unfairly reviled 2016 reimagining – it finally looked as though Sony (and its Columbia Pictures subsidiary) had found a way to revive the series on an ongoing basis with Ghostbusters: Afterlife. As both writer and director, Jason Reitman – son of the original Ghostbusters director Ivan – served up a take that had been apparently heavily influenced by Stranger Things (which in itself had taken cues from – as well as paying homage to – the likes of Ghostbusters), in a film which was supposed to act as a passing of the torch to a newer cast.
A torch which, however, appears to be resolutely unpassed, as Ghostbusters: Frozen Empire falls into the same kind of trap as the Star Wars sequel trilogy, as well as Indiana Jones’ return last year. It speaks to a wider underlying problem with Hollywood constantly raiding its own intellectual property to diminishing effect, rather than seeking to create something new instead. As with Star Wars and Indiana Jones, as far too much time has passed between films, it does feel as though the ship has sailed in being able to satisfyingly bring back the original cast, so there are attempts made to try and continue the sagas with new characters and actors.
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However, still also banking on the drawing power of the OG players, the studios end up not quite being able to let go of the legacy names, bringing them back for outings which fail to really scratch that itch and emotionally connect in a truly meaningful way. Thus, the remaining ‘80s Ghostbusters are back for another stint, like old Vaudevillians being wheeled out yet again and expected to all perform their familiar turns once more for the audience, in a melancholic ‘greatest hits’ collection which leaves viewers unsatisfied, as they wistfully recall past glories, rather than the faded shadows which they now see appearing before them.
Ghostbusters: Afterlife was in many ways a perfect jumping off point for the classic Ghostbusters team, so that the new brooms could sweep clean and fully take over the mantle for the inevitable further sequel(s). However, in failing to make a clean break, Ghostbusters: Frozen Empire reminds us how great the old gang were, as well as how relatively lacklustre are their replacements. For all its supposed failings (many of which appear to centre around incels not being able to cope with heroes who have genitals different than their own), the 2016 Ghostbusters did at least attempt a fun and fresh take which didn’t treat the original 1984 feature like some sacred and unassailable text, carved in tablets of stone sent from on high.
Paul Feig’s Ghostbusters gave us sparky new characters who were – in their own way – worthy successors to the spirit (no pun intended) of the originals, and appeared to demonstrate a genuine way forward for the franchise, rather than turning it into a now rather mawkish, turgid ‘coming of age’ family drama. Try as they might, the Spengler descendants are not truly able to hold a candle – or a proton pack – to the 2016 cadre of Ghostbusters. By turning its back on that possible new direction, Sony has effectively consigned the franchise to becoming a seemingly never-ending series of callbacks and references to what went before, and making audiences into living, perpetual versions of those ‘pointing Leonardo DiCaprio’ and Steve Rogers ‘I Understood That Reference’ memes, as all the fan service boxes are slavishly ticked.
Ghostbusters is now part of an endemic, reductive trend in Hollywood, where – like the ouroboros – the industry eats its own tail, as it sticks so unwaveringly to what it feels to be the safe and familiar, rather than taking chances and trying to plough a new furrow. Yes, Ghostbusters: Frozen Empire is in its own way entertaining, but it feels like a load of empty calories, rather than serving a hearty and nourishing repast. All of the goodwill and potential of its predecessor seems to have been sadly all squandered – particularly in the case of Mckenna Grace, who is woefully underserved by a weak and underdeveloped storyline which could have given Phoebe a whole other dimension, as her budding relationship with the spectral Melody fails to hit the right notes.
Empty, unsatisfying and with one of the most obvious cases of Chekhov’s gun in recent movie memory, Ghostbusters: Frozen Empire is a huge backwards step for the series, and may receive a chilly reception at the box office. Much like in their hamfisted mismanagement of Spider-Man characters, Sony appears not to know how best to serve its properties or audiences alike. Nowadays, busting makes me feel sad.
Ghostbusters: Frozen Empire is out now in cinemas.
Oof, shame. I was hoping this could just be fun 🙁