After a quick detour to Summerville, Oklahoma, the fifth movie in the Ghostbusters Universe sees the Spengler family back where the story began. “Ghostbusters: Frozen Empire,” now playing in theatres, grafts a proton blast of nostalgia to a new supernatural story of tiny Stay Puft Marshmallow Men, Spenglers and an iconic New York City firehouse.
In 2021’s “Ghostbusters: Afterlife” OG (Original Ghostbuster) Egon Spengler’s daughter Callie (Carrie Coon), her two teenage kids, Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace), move to Egon’s abandoned Oklahoma farmhouse. When apocalyptic entity Gozer the Gozerian enters the scene, the family, along with mentor Mr. Grooberson (Paul Rudd) and some familiar faces—Ray Stantz (Dan Aykroyd), Peter Venkman (Bill Murray) and Winston Zeddemore (Ernie Hudson)—team to keep the world safe.
The new film sees Callie, the kids and Grooberson, now Callie’s boyfriend, bustin’ ghosts in New York City. Using Egon’s tools, they zoom through the streets in the classic Ectomobile, and operate out of the firehouse made famous in the first film. Zeddemore now owns the building, which has become dangerously overstuffed with trapped ghosts.
On top of that, when the fast-talking Nadeem (Kumail Nanjiani) sells Stantz an ancient orb, it releases Garraka, an ice demon with the power to harness an army of escaped ghosts and trigger a new Ice Age. “The Death Chill,” says Stanz. “Your veins turn onto rivers of ice. Your bones crack. And the last thing you see is your own tear ducts freezing up.”
To stop this “unimaginable evil” the Ghostbusters, old and new, must once again band together.
Another face from the past also resurfaces. Forty years after their first run in, former EPA inspector Walter Peck (William Atherton), is now NYC’s mayor, and still holds a grudge. “The Ghostbusters are finished,” he says.
“Ghostbusters: Frozen Empire” is busting at the seams, and not just with ghosts. A jumble of old and new characters, mythology and fan service, it’s overstuffed and yet feels lacking.
Aside from Mckenna, Aykroyd and Emily Alyn Lind as Melody, a lonely ghost who befriends Phoebe, none of the other characters make much of an impression, other than looking cool while posing with proton packs. It’s fun to see Hudson in an expanded role, but Murray doesn’t really appear, it’s more like he arrives, leaving a trail of Venkmanesque one-liners in his wake.
Rudd, Potts and most of the new proton pack slingers, however, all take a backseat to the busy story.
Fans will get a kick out of Slimer’s return, a haunted pizza is funny and the new Ice Demon, for the brief time they occupy the screen, is a creepy and cool addition to the Ghostbusters menagerie of meanies, but the script, penned by director Gil Kenan and Jason Reitman, doesn’t deliver the laughs. There are amusing moments, but the broadly comedic tone established by the classic “Ghostbusters” movies has been replaced by an earnest, nostalgic flavor.
“Ghostbusters: Frozen Empire” isn’t exactly a bust, but there isn’t as much life left in the franchise as die-hard fans may have hoped.
“Migration,” a new animated film from Illumination Studios, starring the voices of Elizabeth Banks, Awkwafina and Kumail Nanjiani, and now playing in theatres, is a story about broadening horizons, set against the wild blue yonder.
The story focusses on the Mallards, a family of ducks who lead a quiet, happy life on New England’s bucolic Moosehead Pond. Mack (Kumail Nanjiani) is the protective father who keeps his kids, son Dax (Caspar Jennings) and daughter Gwen (Tresi Gazal), in line by telling them terrible stories of the perils of predators in the world outside their watery home.
When another flock uses the pond as a pit stop in their migration south, it sparks the imaginations of Dax, Gwen and mother Pam (Elizabeth Banks). Mack is not as inspired. He says he’ll only leave the pond if he can find a safer place for his family to live, but the rest of the family wonder what exciting things happening beyond their little corner of the world.
“I don’t want to miss out on life because you’re afraid to leave this pond,” Pam says, scolding Mack.
Mom and the kids are keen to hit the sky, see the world, and migrate to tropical Jamaica for the winter. Mack is reluctant, but is convinced to take flight with Pam, the kids and his curmudgeonly Uncle Dan (Danny DeVito) in tow.
“There’s a whole world we’ve been missing out on,” Pam says. “Things we didn’t even know existed.”
At a stop in New York City they liberate homesick Jamaican parrot Delroy (Keegan-Michael Key) from his prison inside a Manhattan restaurant, run by a Chef (Jason Marin) who specializes in Duck a l’orange.
“What’s Duck a l’orange?” asks Gwen.
“It’s you,” says Chump (Awkwafina), the hardnosed leader of an NYC gang of pigeons, “with l’orange on top.”
As they to stay off the Chef’s menu, the Mallard’s migration morphs from vacation, to journey of discovery as they are exposed to the great big world.
“We’re going to finish this crazy, wonderful adventure,” says Mack.
“Migration” is a fun, but slight, movie for the whole family with good messages about personal growth and overcoming fears. The lessons are simple, presented in a likable, fast-paced fashion, that don’t try too hard to moralize or teach. It’s a lighthearted adventure with none of the darkness implied by the presence of co-writer Mike White of “White Lotus” fame.
From the mild horror of an encounter with an elderly heron (Carol Kane) who may, or may not, have a taste for mallard chicks to the chaotic landing in NYC, the epitome of all of Mack’s fears, each of the big set pieces offer up a new high-flying adventure. It’s episodic, which offers up the chance for the Mallards to interact with new characters at every stop, providing variation in the story, and new opportunities in each chapter for situational humour.
“Migration” doesn’t have the same anarchic brashness as Illumination’s “Despicable Me” films. If you’re hungry for more Minions madness, be sure to arrive on time to see “Mooned,” a stand-alone short from the Minion Universe that opens the show. It rounds out “Migration’s” brief run time (under an hour-and-a-half) and contains a healthy dose of Minion magic.
Slight, but funny and fast-paced, “Migration” is an enjoyable, escapist movie with lively voice work—kids will love baby duck Gwen—and an adventurous spirit.
Richard Crouse and “Eternals” star Lia McHugh talk about her mother accidentally hanging up on a very important phone call, the influence of director Chloé Zhao on the story and cast and how she auditioned for the movie, even though she didn’t know what exactly what part she was trying out for.
The Marvel Cinematic Universe expands this weekend with the theatrical release of “Eternals,” a star-studded superhero film with thousands of years of backstory and 10 new-to-the-big-screen superheroes.
For the uninitiated, those who don’t know their Jack Kirby from their Bruno Kirby, the Eternals have existed in comic book form since 1976.
They are 10 immortals lead by matriarch Ajak (Salma Hayek) and Ikaris (Richard Madden). Rounding out the diverse cast (who are often lined up on-screen like they are posing for a 1980s album cover shoot) are matter manipulator Sersi (Gemma Chan), Thena (Angelina Jolie), a warrior with super strength and the ability to fly, strongman Gilgamesh (Don Lee), Makkari (Lauren Ridloff), the fastest woman in the universe, Bollywood star Kingo (Kumail Nanjiani) who can shoot fireballs from his palms, the childlike ancient Sprite (Lia McHugh), master inventor Phastos (Brian Tyree), mind control expert Druig (Barry Keoghan) and Sersi’s human (or is he?) boyfriend Dane Whitman (Kit Harington).
Pay attention. You may need a scorecard to keep track.
7000 years ago they were sent to Earth by the all-powerful Prime Celestial Arishem (voiced by David Kaye) to keep humans safe from evil killer creatures called Deviants. Over the years they have been present at many defining world events, from ancient battles to Hiroshima. They live by a strict set of rules, including one, a prime directive of a sort, that instructs them to only protect humans from Deviants. That means no man-on-man conflict. If they interfere with earthly concerns, Arishem says, humans will never figure out how to protect themselves.
When the Eternals vanquished the Deviants, they went undercover, blending in with the normies for eons.
Now, in present day, the Deviants are back and badder than they ever were—this time around they can heal themselves—but can the Eternals battle the deadly invaders while pondering the real reason Arishem put them on earth in the first place?
The 25th epic in the Marvel Cinematic Universe spans millennia but tackles many current issues. Themes of unity and the power of connection are woven into the story, topped with messages of self-awareness and being who you are. The ten new superheroes are more introspective than your run-of-the-mill superbeing, expressing their innermost feelings when they aren’t grappling with the existential threat posed by the Deviants. I mean, when was the last time you saw a superhero cry? The ideas expressed regarding sacrifice, interventionism and purpose of mission are endlessly replayed but never truly explored. It is pop psychology disguised as depth.
But, nonetheless, they take the time to pontificate. At two hours and thirty-seven minutes, “Eternals’” story doesn’t exactly feel like it takes an eternity to tell, but it does feel long, especially if you stay to the end to see the two post credit scenes.
Oscar winning director Chloé Zhao, who also co-wrote the script, brings humanity to these alien creatures, but the blockbuster style action, endless exposition and humanist musings sit uneasily beside one another. It’s ambitious, but tonal shifts abound and by the time the CGI orgy of the finale gets underway, “Eternals” simultaneously feels like too much and too little.
“The Lovebirds,” a new comedy starring Kumail Nanjiani and Issa Rae debuting on Netflix this week, belongs to a very specific sub-genre of rom com. Like “Date Night” and “Game Night” it’s the story of a rocky romance rescued by one wild night on the town.
Nanjiani and Rae are Jibran and Leilani, a couple we meet on their first date. It’s all sunshine and roses (and some day-drinking) until we cut to four years later. The genial tone of the first date is gone, replaced by endless bickering about how he can’t make up his mind about which restaurant to go to and even “The Amazing Race,” a show he’s never seen. “I don’t need to get hit by a truck to know it would suck,” he says.
On the drive to a dinner party, things come to a head. “I feel like I’m one page of the book,” he says, “but you’re reading a magazine.“ Just as a petty spat leads them to the brink of a break-up they unwittingly become involved in a crime when their car is commandeered by someone claiming to be a cop (Paul Sparks) and then used to brutally run over and kill a bicycle courier.
Afraid the police won’t believe their version of events, the couple leave the scene of the crime, determined to take matters into their own hands and figure out who the bad guy is. Plunged into world that makes their relationship woes look tame by comparison, the couple uncover clues and rekindle their romance. “This is like ‘The Amazing Race,’” she says, “except with dead people.”
“The Lovebirds” is a rom com, or maybe it’s better to call it a rom crime? Either way, it mixes affection, funnies and felonies in one package that rests solely on the shoulders of its two charismatic stars. Their Fred and Ethel style bickering, which supplies much of the film’s enjoyment, doesn’t feel mean-spirited or contrived. Just the banter between two people who may have forgotten what they liked about one another to begin with. Nanjiani and Rae bring the comedic chops to make us laugh and the magnetism to keep us onside when the action ramps up and grows more and more extreme. “We couldn’t figure out our relationship,” he says. “Do you think we can figure out a murder?”
“The Lovebirds” works best when it has an edge, less so (and you knew this was coming) when romance is reborn. The (NOT A SPOILER! IT MAY HAVE VIOLENCE BUT IT IS STILL A ROM COM) conventional ending is a predictable but happy way to put a bow on the story.
Another franchise, another eccentric genius. Robert Downey Jr. laves Tony Stark behind to return to the big screen in a reboot of a remake of a classic story of a man who could talk to animals.
When we first meet Dr. John Dolittle (Downey) he’s at the Howard Hughes recluse stage of his life. The passing of his wife has left him despondent, unable to enjoy the company of humans so he lives in seclusion with only a menagerie of animals for company.
To pass the time he plays chess with a timid gorilla named Chee-Chee (voice of Rami Malek) and in conversation with the various animals who crowd his home, including his trusted macaw advisor Polynesia (voice of Emma Thompson) and Jip (voice of Tom Holland), a bespectacled dog.
“I don’t care about anyone, anywhere, anymore,” the doctor says.
Of course, that’s not true. When animal lover Tommy Stubbins (Harry Collett) shows up at Dolittle’s gate with an injured squirrel (voice of Craig Robinson)—“I’m too beautiful to die,” the squirrel says.—on the same day the doctor is summoned to Buckingham Palace to see the ailing Queen Victoria (Jessie Buckley), he is brought back into the human world. Her Majesty is gravely ill and if she dies the treasury will take the animal sanctuary Dr. Dolittle calls home. Worse, all his animals will be thrown out into the world during hunting season.
To save the Queen‘s life he must embark on a journey to find the Eden Tree and its magical, healing fruit. It’s trip fraught with danger and is the same journey that cost his beloved wife her life. Add to that some palace intrigue, an island of misfits and thieves, turbo boosting whales, a vengeful squirrel and even a dragon and you have a new chapter in the life of the man who can talk to animals.
Kids will likely find “Dolittle’s” chatty animals amusing but this isn’t simply a movie about wise cracking beasts. At its beating heart it is a movie about pain, but, as one character says, not the kind of hurt inflicted by a bullet or a knife. It’s about the agony of losing someone. Dolittle’s heart is broken by the death of his wife, and that ache is the engine that propels the entire movie. So, while the young’uns may giggle at the animals but the movie’s underlying downer vibe and generic approach suggests that Dolittle’s wife isn’t the only lifeless part of this movie.
Downey plays the character with a sense of bemused confusion, topped with a mealy-mouthed Billy Connolly impression that changes from scene to scene. It’s a pantomime performance that makes the best of his finely tuned comic timing but feels sloppy and needlessly mannered.
“Dolittle” contains some good pop psychology for children about working together—”Teamwork makes the dream work!”—and facing their fears but overall a movie featuring talking animals shouldn’t be this banal.
I recently had a conversation with someone who hires people to work at a large financial institution. Qualifications? Math and people skills are high on the list, as are attention to detail and honesty. His killer question, the one that separates the candidates who will move forward to a second or third interview from those who won’t is deceptively simple. “What’s your Uber rating?” That’s right, in a word that increasingly places a star value on random performance, a ride-sharing service driver you may have only met once can determine your employment future. “Stuber,” a new comedy starring Kumail Nanjiani and Dave Bautista, begins with a star rating and ends in an odd couple comedy.
Bautista is Vic, an LAPD detective on a mission to capture Teijo (Iko Uwais), the heroin dealer responsible for the death of his partner Sara Morris (Karen Gillan). When Teijo resurfaces during a Los Angeles heat wave Vic prepares to take him down. Trouble is, he’s just had Lasik surgery and can’t see. Fortunately, his daughter Nicole (Natalie Morales) installed the Uber app on his phone.
Enter Stu (Nanjiani), a sardonic retail clerk, with a crush on his best friend Becca (Betty Gilpin), a part time job driving for Uber and a license plate that reads FIVESTARS. Ironically, he also has a comically low star rating, the result of a string of one-star reviews left by drunks and racists. “I can’t drop below four stars or I’ll lose my job,” he says.
He picks up Vic, takes him to the scene of a murder and, desperate for a five-star review hangs around, getting deeper and deeper into trouble. “If you want five stars,” says Vic, “keep the motor running.”
“Stuber” is more than just product placement for ride-sharing. Equal parts action and gags, it feels like a throwback to the odd couple buddy movies of yore.
Let’s play Retro Fantasy Casting. Imagine it’s 1985. You have an action-comedy about a hulking cop and a motor-mouthed cab driver. It’s violent, rough and raunchy. Sounds perfect for Arnold Schwarzenegger and Eddie Murphy. You get the idea.
The premise is as dated as Koosh Balls but like those colorful rubber balls, it’s still fun. Arnold and Eddie likely would have dialed back the pop psychology somewhat—“You give people your Glock,” says Stu, “not your love. That’s your problem.”—and upped the grit, but the other buddy movie puzzle pieces are very much in place.
These movies are all about chemistry and Bautista and Nanjiani bring it. Physically they’re Laurel and (a pumped up) Hardy and their size differential leads to some laughs. Bautista’s Mr. Magoo routine offers up some good opportunities for pratfalls but it is Nanjiani who really provides the comedy in this action-comedy. His is a steady comedic approach, with a drily hilarious delivery that wrings laughs out of lines that aren’t funny on the page. “I’ve done things tonight you wouldn’t believe,” is a standard line in movies like this but out of Nanjiani’s mouth it becomes a laugh line.
“Stuber” doesn’t reinvent buddy cop wheel but it does take it out for a spin and it’s a fun ride.
This week “The Avengers,” well, at least one of them, aren’t saving the world. Instead Thor portrayer Chris Hemsworth sets his sights a little lower, breathing new life into the flailing “Men in Black” franchise. Twenty-two years after the original hit film and a few years after a cancelled third sequel he’s joined by Marvel Universe citizens, “Avengers: Endgame’s” Tessa Thompson and “Iron Man” writers Matt Holloway and Art Marcum. The question is, Can the mighty Marvel alumni bring some of their magic to a different universe?
This reboot keeps the basics of the franchise. There are still loads of chatty aliens, Emma Thompson returns and the Men in Black remain a nattily dressed but top-secret organization that monitors and polices alien activity on Earth. They’ve managed to stay undercover for decades by the use of a neuralyzer, a device that erases the memories of those who witness their efforts to keep the world safe from alien attack. It’s a failsafe but in at least one case it isn’t entirely effective. In a flashback we see a family, including a young girl named Molly (Mandeiya Flory), neuralyzed after an incident.
Cut to present day. Now grown up Molly (now played by (Thompson) is about to realize her life-long dream, to become part of the best kept secret in the universe. “It took me twenty years to find you” she says to Agent O (Emma Thompson) head of MIB’s US branch. “I found you which makes me perfect for this job.” Dubbed Agent M, she is assigned to the UK branch, headed by High T (Liam Neeson) and teamed with Agent H (Hemsworth), her mission is to root out the biggest MIB threat yet, a mole in the organization. “We are the Men in Black,” says Agent H, “errr, the men and Women in Black.”
Unless there is a mass neuralization of audiences “Men in Black: International” will not make us forget the charms of the first “MIB” film. Director F. Gary Gray’s take on the film delivers actors with sparkling chemistry—Hemsworth and Thompson first lit up the screen in 2017s “Thor: Ragnarok” and continue to do so here—who elevate an otherwise unremarkable reboot of a well-loved franchise.
It has the earmarks of the original but, aside from Kumail Nanjiani as a tiny Marvin the Martian-esque alien named Pawny, there is nothing extra special about the extraterrestrials. For a movie about the “scum of the universe,” that seems like a missed opportunity. Nanjiani is provides some much need comic relief in the film’s last section but where is the creativity in the creature design?
Having said all that, despite the predictability of the plot, the chemistry on display makes “Men in Black: International” a fun, lightweight romp.
The thing that separates us isn’t politics, or religion. No, the thing that divides us is our willingness to share our stories from the most secret room in your house—the bathroom. A new documentary, “Poop Talk,” presents a cast of luminaries including Adam Carolla, Rob Corddry, Nikki Glaser, Aisha Tyler, Eric Stonestreet, Dr. Drew Pinsky and Oscar nominee Kumail Nanjiani to talk about the most basic human function.
Director Aaron N. Feldman has made a movie for the kind of people who find Mr. Hankey the Christmas Poo the funniest part of the festival season. Embarrassing stories about getting caught short, blaming accidents on the dog and cultural differences, abound. Nothing is off limits. Constipation, something called “hot bagging” and what it’s like to be a celebrity and have to go in public are all discussed. It’s unapologetically gross, often off-putting but occasionally insightful.
“They say you can judge a society by how it treats its prisoners,” says Corolla, “but what it s**ts into is probably a better way to do it.”
Pete Holmes, star of HBOs “Crashing,” says he enjoys privacy—the stall door all the way down to the floor—but adds that, “what makes it better and what is true progress is our ability to talk and even joke about it. That’s what I want. Give me the God-given right to say, ‘Whoa, do not go in there.”
“Poop Talk’s” subject may be universal but it is probably best suited for those who regard the poop emoji as high art.
