| Columbia Pictures | Release Date: November 19, 2021 | CRITIC SCORE DISTRIBUTION | ||
|
Positive:
14
Mixed:
23
Negative:
10
|
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Critic Reviews
Afterlife is fine. It passes the time. But somewhere between the Stay Puft Marshmallow Man recycled as hundreds of Tribble-alike menaces and Muncher, a fatter variant of Slimer, one finds oneself wishing that studios might use their vast resources for something more than the repackaging of old rope.
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SlashfilmNov 16, 2021
Nostalgia is fine in limited doses, but the sequel ends up feeling like J.J. Abrams directed "Now That's What I Call Ghostbusters," undoing any of the goodwill established by the film's first two acts. The movie is trapped in the past so much that it might taint any potential future there might be to keep the franchise alive with these new characters.
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While teenage star Mckenna Grace infuses the aging property with a needed burst of youthful energy, co-writer/director Jason Reitman (son of original filmmaker Ivan Reitman) is more interested in looking backward with the sequel, leaning way too hard on old characters, story beats, plot points and zingers.
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IndieWireOct 9, 2021
I can’t remember another movie throwing such a competent cast under a bus so badly. How they turn out and how they could continue in the mythology is just iced in service of a reunion that doesn’t land, coupled with a ghoulish use of technology that is downright uncomfortable to watch.
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The PlaylistNov 17, 2021
It’s a curious mix of contradictions, sentimental in its longing worship for “Ghostbusters” and yet cynical and manipulative in the way it seems to rehash every classic moment of the original, insulting the audience’s intelligence along the way by giving them every cameo, wink, and nod they never knew they actually didn’t want until it was slathered all over them like so much disgusting green ghost goop.
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The TelegraphDec 10, 2021
The effects have a pleasingly retro patina, but the action itself is drab, the jokes scarce, while the town itself is both entirely characterless and oddly deserted, giving the impression that nothing’s really at stake. It’s just what we were warned about all those years ago: something weird that don’t look good.
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Ghostbusters: Afterlife is less about zapping ghoulies than it is about Family, Reconnection and Forgiveness, which by now should be trademarked entities like Pepsi, Saran Wrap and Legos. Never funny or disreputable, Ghostbusters: Afterlife feels fully parent-approved—and where’s the fun in that?
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You can look past it muting the spiky chemistry of Rudd and Coon, who deserve more scenes and their own rom-com together, or the way the narrative’s father issues feel so incredibly forced, or how so many of the sequences appear to simply be killing time until the final act. What’s less forgivable is the way that it gets so caught up in the mythology of its hollow nostalgia that is misses why the original meant so much to so many of us way back when.
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