Movie reviews: Despite stand out performances, 'Ghostbusters: Afterlife' is a ghost of the original

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This week, TV pop culture critic Richard Crouse reviews new movies: 'Ghostbusters: Afterlife,' 'King Richard,' 'The Power of the Dog,' and 'Jagged.'

With the release of “Ghostbusters: Afterlife,” the supernatural comedy now playing in theatres, the Reitman family proves they ain’t afraid of no sequels. The fourth film in the franchise sees Jason Reitman, son of the original director Ivan, reinvent the series, this time for a younger audience.

Despite the Reitman name front and centre, “Ghostbusters: Afterlife” doesn’t really feel like a “Ghostbusters” film. There is plenty of fan service and callbacks to the original movie, but the humour is muted and the anarchy of the first film is replaced by family drama. Modelled after the kid led adventure movies of the 1980s, it feels more like a coming-of-age indie grafted onto a big studio premise.

“King Richard” may be the most inspirational movie of the year. Maybe ever. There is uplift in almost every frame. From Richard’s unswerving support for all his children and Oracene’s ability to always know the right thing to say, to Venus and Serena’s journey to the top in a sport typically dominated by white people, the movie exists in a tidal wave of heart-warming emotion.

Smith is both cocky and vulnerable in the role, using his trademarked charisma in a different way. His usual swager is gone, replaced by determination and obstinacy, and it is a fascinating character study. Phil, we learn, studied the classics at Yale, but prefers to live a basic life. He likes the company of horses and the ranch hands, rarely bathes, and is quick with a cruel remark.

As Phil, Cumberbatch is an enigma. An unwashed and gravelly-voiced bully, his guard is constantly up. Cumberbatch and director Jane Campion slowly reveal bits of Phil’s backstory through subtle references and scenes. We never get a full picture, and fear of revealing spoilers prevents me from elaborating, but it appears the character’s self-loathing and fragile masculinity seem to drive his vile behaviours.

 

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