Ghostbusters: Frozen Empire (2024)

Primary Disclaimer: Eddie works for the company making the premium theater concession products. 

Secondary Disclaimer: Eddie and I are both huge Paul Rudd fans. 

As the latest installment in the Ghostbusters franchise, Ghostbusters: Frozen Empire mostly delivers. There are several callbacks to the original film, more appearances from the O.G. cast and way more screen time for the always wonderful Paul Rudd. 

This time, director Gil Kenan (Monster House) has the daunting task of maintaining one of the most iconic franchises of all time. He takes over for O.G. director, the late Ivan Reitman's son Jason, who helmed the previous film, Ghostbusters: Afterlife. Kenan's horror and comedy backgrounds lend itself to the series quite nicely. 

While pacing is problematic throughout, making an under two-hour feature feel closer to two-and-a-half, Kenan makes sure to stay as true to the original film as possible, unlike Afterlife, which went the traditional reboot route of making a beloved film incredibly dark. 

Theatrical Poster | Copyright Sony 2024

This film follows the Spengler family as they leave Oklahoma behind and decide to resurrect the Ghostbusters proper in NYC, making the iconic Tribeca firehouse their own. Joining them is Rudd's Gary Grooberson, who this time has top billing after spending too few scenes in Afterlife, and is now official with Spengler matriarch Cassie (Carrie Coon). 

Together, they uncover many more supernatural beings, with kids Trevor (Finn Wolfhard) and Egon doppelganger Phoebe (McKenna Grace) having particularly memorable encounters with ghostly creatures. A robust supporting cast including Kumail Nanjiani and Patton Oswalt add a sense of freshness to the series, and this is on top of some very welcome lore building developed by Kenan and Reitman.

The supernatural elements expand past ghosts into things that are borrowed from other creative works, like Avatar: The Last Airbender, but still feel like welcome additions to this world. And some of them spark a well-earned, yet so-so arc for Phoebe.

Her character just feels really jerked around this movie. It gives Grace a lot to work with, and leads to some fine acting from Rudd opposite her, but it's a bit like how Ghostbusters 2 was a bit of a "back to square one" after the classic. That is what makes the runtime feel more padded than it actually ends up being. Speaking of the first two movies...

There, of course, is the return of Dan Ackroyd, Bill Murray, Annie Potts and Ernie Hudson, who this time around get way more screen time. Hudson and Ackroyd especially have memorable arcs, with Hudson's Winston Zeddemore going from a trusty driver to a renowned philanthropist and Ackroyd's Ray Stantz as a podcast host of (what else?) a supernatural show! Potts, meanwhile, gets to step out of her comfort zone from zany secretary to kick-butt Ghostbuster Janine Melnitz. 

The butt-kicking and action is pretty strong as well, as improvements to the Ecto-1 take traversing the New York City streets to new heights. It's brief, but seeing the car whip around with a Proton Pack tearing up the town shows how much promise was in this movie, and how much promise is still left in the franchise. They just need to keep experimenting and testing things out...you know, like scientists.

Read More

Madame Web (2024)

Note: Co-written by staff writer Mallika Rao. 

Kraven outstanding, Madame Web is the definitive death knell in Sony's Spider-Man universe, officially the mouthful known as Sony Pictures Universe of Marvel Characters. To virtually everyone, my girlfriend Mallika included, this result was completely expected. I, however am frustrated by the potential and glimmers of hope that I effectively am trying to conjure out of thin out for this movie.

Madame Web is directed by S. J. Clarkson, and it's written, presumably as they were shooting and editing, by Matt Salaam & Burk Sharpless and Claire Parker & S. J. Clarkson. The story follows NYC paramedic Cassandra Webb (Dakota Johnson). After a near death on the job, she unlocks clairvoyant abilities that she quickly puts to work. 

French Theatrical Poster for Madame Web | Copyright 2024 Sony and Marvel

Tasked with protecting three young women (Sydney Sweeney, Celeste O'Connor, and Isabela Merced) from D-list villain Ezekiel Sims (Tahar Rahim), Webb will discover secrets of her past and her potential place in a larger multiverse...if this movie was well-made.

Way back in 2014, there were rumors of a potential Aunt May movie that was among a dozen or so straws Sony was grasping at after The Amazing Spider-Man 2 struggled at the box office. I was part of the few and the proud that championed this crazy idea. 

Spider-Man, like Batman, has the deepest bench of well-developed side characters in comics, and any number of these people could go off and do their own thing for an enjoyable two hours without any mention of arachnids or insects. Venom proves this and Peter Parker's parents are, at least in some stories, goddamn spies. Clarkson and company utilize the surface-level of what they're given to play with in the most surface way possible.

The surface stuff that works includes the use the 2000s settings and references, the unfulfilled promise of grounded, stunt-driven action, and the casting of the main four leads. 

From a clever Sony tie-in of a Beyonce album cover billboard (Queen Bey is a Sony Music Entertainment artist) to a memorable dance number with the three youngest actresses bopping to Britney Spears' "Toxic" to try and impress young men, and even a callback to another superhero flop with R&B group Mis-teeq's 2004 banger "Scandalous" (from the Halle Berry "Catwoman") playing briefly in the background. 

There's enough of a world here that audiences can stay anchored to something even as the plot and pacing start-and-stop sporadically. It's a two hours that doesn't feel like three or even two and a half, thank goodness, but does feel sleepy. The performances, or at least appearances of actors we know and love, keeps our eyes open luckily.

Johnson, Sweeney, O'Connor and Merced have great chemistry from the start. The film itself wastes their potential to work as a force for the greater good. It's a shame the writing had to be so mid, as kids today would say.

The always wonderful Adam Scott makes a memorable appearance as Ben Parker (yes, Spider-Man's Uncle Ben). To that point, Emma Roberts plays Mary, who is implied, with all the force of a sledgehammer, to be the matriarch of Peter Parker himself, and Peter's birth scene is one that hit close to home for me, as a month-prematurely born baby myself (sorry for the spoiler alert). I'm going to hold onto the headcanon that that applies to most multiversal Peter Parkers forever.

With a smaller budget compared to mainline Spidey films, the scaled-back action has an appreciated believability and spark of creativity to it. The hand-to-hand fights aren't caked in CGI until the very end of the movie, so they're luckily comprehensible. The highlight of the few confrontations in Madame Web is when one of the characters uses a defibrillator from inside an ambulance to shock Sims off them during the climatic chase. It's nice, tense, and at least a little inventive. 

Webb's clairvoyance does not get the same treatment. It's really just kind of there and seems to work like the movie Next, where the character just gets a few minutes of a heads up. Maybe if she lost her sight when she got her powers more could've been done with that, but they save her going blind and her comic-accurate look for the final minutes of the movie, ultimately leaving viewers feeling like they wasted their time and money. Still, a final positive, the costume design has a bit of that creative spark, too.

Madame Web's costumes are designed by Ngila Dickson (Lord of the Rings). Right off, there is something new, notable, and inspired about seeing spider suits without the classic one-way lenses. The trio of Sweeney, O'Connor, and Merced give us something close to live-action takes on the 2099 suit and two color-swapped Future Foundation outfits. Rahim wears a cross between the classic black suit and Far From Home's stealth suit, and it's always fun to see a covert Spider-Man costume slowly skulk across ceilings. It's way, way too brief, but at least it's there and saving the movie from a completely failing grade. 

(Not the four stars it tried to will into exist by having a scene at a place called the Four Star Diner in Jersey. Better luck next time with Kraven, El Muerto, Spider-Man: Noir, and the now most likely doomed Silk project. Thank goodness for the animated movies and Venom.)

Read More

Ant-Man and the Wasp: Quantumania (2023)

There's been a lot of ups and downs with Marvel movies lately, and how we talk about them has even higher highs and lower lows. I didn't see much about the content of Quantumania before seeing it, but I did see the report. The breaking (entertainment) news of the week is that "Ant-Man and the Wasp: Quantumania Ties [with Eternals] for MCU's Worst Rotten Tomatoes Score," and a lot about that is rubbing me the wrong way, so let's try to get into it a little bit. What is the movie, what fixes to it could have been made, and why is that headline unnecessarily loaded?

From IMDb, the Ant-Man outline is "Scott Lang (Paul Rudd) and Hope Van Dyne (Evangeline Lilly), along with Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer), [and Cassie Lang (Kathryn Newton),] explore the Quantum Realm, where they interact with strange creatures and embark on an adventure that goes beyond the limits of what they thought was possible." It is directed by series regular Peyton Reed, written by Jeff Loveless (Rick & Morty), and Rudd notably does not have a script credit for the first time in the series. That's one of the differences worth starting with. 

Taking place primarily in the Quantum Realm, there's a feeling that while this isn't a soft reboot, like Thor: Ragnarök, it is a major departure from the grounded (enough) heists and street-level activity from the first two movies. When I reviewed Ant-Man and the Wasp in 2018, I said that "there's no disgustingly evil villain, there's (mostly) just people trying to get by or, in Ava's case, survive." This should be the "Fairly Relaxed Trilogy," and while we're not talking about total tonal whiplash, we are talking about an adjustment. 

Suiting up for this one was a ton of fun. A huge thank you to the guy who listed this cosplay on FB Marketplace. I wasn't exactly sure how to pose in it

Quantumania tries to be a bit of a sci-fi epic that takes visual cues from Star Wars, Mad Max: Fury Road, and Denis Villeneuve's Dune. The Quantum Realm is a split empire of high and low-class that is ruled by a variant of Kang the Conqueror (Jonathan Majors). Despite great casting of new characters, like William Jackson Harper as Quaz, a member of the resistance against Kang, few of them leave an impression. Bill Murray does as Lord Krylar, but that's because he's him, and he's also recently been embroiled in some controversies. Side characters who we most likely won't see again are around mainly to motivate Scott to act, as he's gotten a bit complacent since cashing-in on his status as an Avenger. The good news about that is maybe William Jackson Harper can still play Reed Richards in the main timeline. Gemma Chan was double-cast, so the door is open.

Now, when I first heard that Scott cashing-in was part of the plot, I was alarmed that they were going to assassinate his character. Luckily, it's not that bad. He just needs a slight reality check. The movie kind of addresses my Ant-Man and the Wasp complaint that Hank and Hope were beating up on him too much in the last movie, but they try to like double-fix it. There's less of that, but also, we're getting a more serious Scott, and it's a slight sticking point for me. 

Cassie, who now has her own suit and may go by the title Stature or Stinger, gets kidnapped by Kang, naturally alarming and enraging Scott. Down the line, I can see this saga of Marvel coming down to just Ant-Man and Kang, but I honestly need to see more range from Rudd first. He has to force anger in his performance, and it just comes off as trying. It's endearing because he seems to really be that sweet guy off-screen, but it hurts the movie. Maybe there's a non-comedic role I missed? If so, please tell me what it is. Performances from everyone, except the wonderfully intimidating and stoic Jonathan Majors, seem off, because it's a less comedic film, and there's more acting against green/blue screen instead of sets and people. Michael Douglas, and perhaps Michelle Pfeiffer, could have been the key to fixing that and some other issues with the movie.

Hank and Janet move things along in the Quantum Realm, but I think the story would've been more streamlined, and the actors would've for the most part been better used, if they were communicating with Scott, Hope, and Cassie from home over something like radio. Douglas and Pfeiffer feel a little out of their element having to juggle all that CGI in their heads, and they've earned the right to take it easy in blockbuster roles. Not only is the story more focused on a solid trio this way, but it allows more familiar faces to help, or at least pop-in, in the headquarters of the Pym house. It would've been nice to see the rest of the cast from the last two movies, and we know that Michael Peña would level out the tonal shift at least for a sequence. Maybe this was the result of the movie being made at least partially under Covid restrictions. At there is at least one cast surprise that got me excited for a moment, the villain from the first Ant-Man returns. But only for a moment.

Corey Stoll's portrayal of Darren Cross always struck me as a few notches above the typical corporate superhero villain. He's elevated by the peeks into a long, complicated history with the Pym family and what prolonged Pym Particle exposure has done to his mind. Stoll had a great enthusiasm, mixed with brewing anger. He's great in Quantumania, as the Yellowjacket-turned-M.O.D.O.K, but he's mostly just a servant of Kang. That helps develop Kang further, but it doesn't do much else. His design on M.O.D.O.K is also pretty off-putting, but people are blowing that out of proportion.

If you've seen the screenshots already, it does indeed just look like Stoll's face is stretched out to a large size. It looks surprisingly okay in motion. The effects in general look good, and I really hope the artists weren't fucking abused this time around, but they probably were. I think they added some extra vibrancy to the shrinking and growing to match the new setting, and the action throughout is pretty solid too. A giant, relatively speaking, Ant-Man slamming Kang against the wall is quite satisfying, and so is a new variation on the Hawkeye move from Civil War. But it also seemed like there were some missed opportunities here-and-there. 

It's a minor thing, but it seems to point toward Marvel just kind of churning these movies out quickly in recent years. There's a scene where Scott keeps multiplying, and while they throw in one Baskin-Robbins employee version, seeing Ant-Men in more costumes from the last couple movies, since the super-suit is changed around a bit every time, would've made the scene pop more. They also could've added outfit variants like Scott as a thief, in prison, and and in an oversized hoodie. 

The possibilities were endless and unexplored | Copyright 2023 Marvel/Disney

Still, these are minor things, and Marvel has looked into slowing down and injecting more care back into their movies. Wakanda Forever proves that, and so do statements from the studio lately. So, people who missed Kang in Loki are still looking at a promising start to his rule, and signs point toward that hope continuing, in due time. So, with that in mind, let's not be too hard on them. Let's be fair in our thoughts.

However, there's one more thing. My girlfriend and I had a fantastic time watching the movie with an opening weekend audience. We were really bouncing off of the movie, and Paul Rudd's charm, together, even if he was diluted to suit the story this time around. Going back to the first two movies will surely be even more enjoyable for us, since Michael Peña will be thrown into the mix. For all that, Quantumania earns a bump.

Read More

Comixology: Library and Annotations | Fan Made Commercials

Recording my guest appearance on Superhero Cinephiles was a fun, wonderful experience. The host was incredible, and the conversation was excellent. Preparing for it, balancing the comic, a notebook, and a pen was a lot more frustrating than expected. What's worse is that it was completely unnecessary. I remembered not just all the regular features using a Kindle affords, but I also remembered manually drawing underlines and highlights, and putting notes in the margins of unformatted PDFs that professors occasionally sent us. It wasn't perfect, but it was still all on a single tablet and required one hand. 

This is impossible with large comics because trying to convert one into a PDF crashes PDF readers. So Amazon really should step in and do something. They clearly have the capabilities, with everything the Kindle and ComiXology apps already can do, but they are more concerned with slashing what ComiXology can do in the interest of cost-saving. Nerdsync and other YouTubers have covered that really well. 

 

So, the above videos are my new project. The additional commercial focused on the library was my way of learning Figma. It was simpler to make and it throws around some more useful ideas that ComiXology is lacking. And the commercial framing was the best way to give these things some additional life and not just make it a slideshow. It just also meant I needed some additional help.

A ton of people contributed to this, and I highly encourage people to check out their work. For example, Julia Yorks is a professional screenwriter. Before I went to the VA, Kiyana, with my script, I wanted to make sure dialogue flowed from feature-to-feature just right, and she was able to help me do that and make the whole thing less wordy.

I don't know if this will actually show up on Amazon's radar, but with all the ComiXology criticism they've been facing lately, at least they might find a potential way out...if they even care or it starts to actually affect the bottom line.

Finally, while note-taking was frustrating, I'd consider the library video a strong endorsement of getting your books from your local comic shop. Once they're home, it's just so much easier to enjoy them. Please support your local comic book shops, and enjoy the non-hassle of not having to re-download a large trade or omnibus. Just grab-and-go.

Credits
Voice Acting
Kiyana Morgan

Music
Christophe Beck's Ant-Man Theme
Owned by Marvel/Disney

Photos
Adobe Stock & Shutterstock

Script Consulting
Julia Yorks – The Baby Writers Podcast

Software
Figma for UI & Final Cut Pro for editing
Play with the Figma files however you’d like
Annotation & Library

Keyboard
Denis Rojčyk

Icons by Iconduck

It's a plug-in in Figma

Inspiration
Superhero Cinephiles & Nerdsync

ComiXology & Kindle by Amazon
Comics owned by their respective creators or publishers
Purchased through ComiXology or, more likely, Humble Bundle
I’m affiliated with neither

Special Thanks
SUNY New Paltz Comic Books United! 
My school’s comic club showed me the wide world of comics outside of the movies

Read More

Ant-Man: Movie (2015) | Guest Appearing on Superhero Cinephiles Podcast

From the episode's page, because Perry covered it really well, "This week, Perry is joined by video editor and writer Eddie Thomson of Why We Watch to discuss 2015’s Ant-Man! We discuss the long road this movie took to getting made, from Edgar Wright’s long involvement in the project, switching over to Adam McKay and eventually landing in the hands of Peyton Reed. We also talk about how the heist film aspect helps set this apart from the rest of the MCU and why not every movie needs to end in some world-ending threat." 

You can listen here, there are direct links to Spotify and Apple below, and all my guest appearances are on a Spotify playlist here.

For people interested in talking with Perry, see what's available to discuss and his contact form.

Our discussion on the Nick Spencer comics is a Patreon exclusive. Re-reading them years later was not entirely what I expected, and that's one of the things that we talk about. It was a great experience though, and it inspired me to cobble together a variant cover for one of the issues.

Ant-Man Variant Cover

Like the Doctor Strange poster, this was done with re-used assets in Blender, and then it was finished in Photoshop. The main challenge was laying out and rendering the apps separately and posing Scott. The main issue with Scott is it's an FK rig, so the arms and fingers had to be rotated individually, instead of if it had been an easier-to-pose IK setup. Also I’m sure the scale is ridiculous, but I wanted to balance readability of the phone with showing some background, and perspective is hard.

The room is by Fluza.

The phone is by smartbo.

The app icons are by prelightmedia, except the bomb I think is this one by Francesco Milanese.

Ant-Man is by danntzc, and I like that he made one that's different from the movie design.

Logos are direct from Marvel.

Read More

Amazing Spider-Man: Family Business (2014) | Graphic Novel

A plain-clothes Peter Parker is nearly captured by private military contractors. That's weird. He's able to escape capture with the help of his long-lost sister, Teresa Parker. That's weirder. And now they need to go globe-trotting to stop The Kingpin. If this story threw many more curveballs, there's a chance people might've checked out, but it doesn't. Instead, it just gets more enjoyable to read and, frankly, just stare at because of the artwork. Amazing Spider-Man: Family Business is part of an Original Graphic Novel line called Marvel OGN, so it's like a longer, self-contained, single-issue. It's written by Mark Waid and James Robinson, painted and covered by Gabriele Dell'Otto, and penciled by Werther Dell'Edera.

The best thing about stories that go off the rails is that it makes buying into ones like this pretty easy. We don't need to forgive "Sins Past," or anything like, but we should give them a bit of a break because of what they allowed future writers to get away with.  Plus long-lost siblings reveal themselves in comics, Law & Order: SVU episodes, and even our world all the time. Waid and Robinson do introduce the story gently though, with a standard, but very entertaining, crime-in-progress. 

The only, very minor, art complaint I can think of is that there's usually another panel and speech balloons on top of shots like this | Copyright 2014 Marvel

Peter stumbles onto a truck that's full of shop-lifted laundry detergent, intended to be resold to wholesalers, and then smaller retailers. We get great quips, like "Stop in the Name of Mr. Clean," great panels, and a good sense of where this Spider-Man is right now. No Parker industries, so this is the only way to keep Family Business somewhat grounded. 

Once the main story kicks off with Teresa's introduction, they're quickly "Jason Bourne-ing," as Peter calls it, to places like Monte Carlo, Switzerland, and Cairo. 

As a fan of the show Archer, Monte Carlo was easily my favorite destination. It took a few minutes to confirm, but someone somewhere will rest easy knowing that Peter and Sterling Archer both don't know the first thing about Baccarat. At least they both clean up nicely. 

Personally, I recommend "college rules" Blackjack. If you can't count cards, just be the last person dealt and pray only one deck is in use | Copyright 2014 Marvel

They're there to get information to lead them to their parents' safe house. They're nearly stopped by a villain named Cyclone, and I really like the way his suit is analyzed. Spider-Man figures out that this version of the character isn't a mutant, so it'll be quick work to basically tear out his battery pack. Still, it would've been nice if Teresa could've helped. The best parts of this story, dealing with this relationship and their relationship with their parents, is where the writing does have some hiccups. 

We only get to experience so much of these these two learning about each other, and their mom and dad, because of the constraints of about a hundred pages. Shorthand dialogue about power and responsibility is well-used, but it still feels like a workaround because the plot has to keep powering through. Other times, it is a bit on the nose. The Monte Carlo contact tells the two that Richard Parker was a wisecracker, instead of it being shown in one of Waid and Robinson's flashback scenes. Yes, this stuff should be in there but in a less clunky way. Luckily, the buy-in of the sibling storyline doesn't really have this problem.

Since there's no time to do a DNA test or something, what Waid and Robinson come up with is that Teresa has a family photo and Peter's expertise as a photojournalist tell him that it's not doctored. Doubt is in the back of his mind and ours, but things are addressed well, and nothing about the story really feels cheap because of that doubt. A costume change for Spider-Man is handled similarly, and outside justification for that is the artists get to have more fun. It just works. And again, this part of the story is not the wildest thing to happen in comics, other pop culture, and everyday life. What is wild is that they meet The Kingpin in Cairo.

Leaving out some details, what Family Business comes down to is a male Parker is able to unlock a vault full of Nazi gold that's also guarded by a robot. Nick Spencer's Ant-Man runs into a robot just like this a year or two later, and I recently re-read that for a (Patreon exclusive) guest appearance on the Superhero Cinephiles podcast, so the suspension of disbelief is still going strong here. Plus, this was around the time of the Webb/Garfield movies that were all about Peter's parents, so that probably helped some readers at the time. Now, I'm not so sure. I also wonder if this book has much of a legacy outside of the art and Wilson Fisk's iconic look? 

Vincent D'Onofrio as Wilson Fisk | Copyright 2021 Marvel Studios

The closest comparison I can make to Dell'Otto and Dell'Edera's work is Alex Ross because of how it's painted. A quick comparison can be made with the Ross art in my Uncle Sam review, but a better one can be made by looking at his work in Marvels and Kingdom Come. Where Ross excels is scope and detailing, but, as far as I know, work like this in comics is still incredibly hard to come by outside of covers, and any instance of it should be celebrated. Personally, a character like Teresa should be, too. She's definitely not well-known.

I wish she was. Peter having that connection felt really heart-warming, as unexplored as it felt at times, but I couldn't find too much on the character after that, but if I'm missing something please correct me. As far as Family Business goes, Fisk and the robot are stopped, the day is saved, and there doesn't seem to be any major lasting impacts to the story. Some of that is probably by design because of the self-contained thing, but something about a bombshell like this just defusing, one that could've opened up the world of a character, doesn't feel right. This isn't even where Cindy Moon (Silk) was being kept, which is where I thought the story was going, but that just goes to show what casual reading gets you sometimes. Anyway, someone on Reddit said that the Webb/Garfield movies created the perfect universe to introduce and adapt her story, and they're right, but the MCU wouldn't be a bad fit either.

For those who've seen No Way Home or ready my review, they know that that Peter could use literally anybody in his life just popping up right now, and while writing around Doctor Strange's magic to make this happen logically would be quite difficult, it could be incredibly rewarding for Peter, his sister, and the fans who feel especially close to them.

Update: It looks like Chip Zdarsky featured her a few years later in his Peter Parker: The Spectacular Spider-Man run.

Read More

Doctor Strange (2016) | Fan Made Poster, Co-Created By CGFlow and Other Artists

I was re-binging the MCU recently and remembered how one of the last director commentary tracks I heard was from Doctor Strange. Something about Scott Derrickson's early emphasis on Stephen's watches, in the movie and in the track, stuck out. This was along with the great imagery throughout the film. So a very loose idea for a movie poster came about. The idea was to focus on the symbols that make up the sorcerer more than the sorcerer himself. It seemed interesting because it should've been something done by the actual marketing department, but it wasn't. That also seemed like something worth bringing up, but first, the poster and what went into making it.

The poster was co-created by CGFlow, and a breakdown of everything is right below here. Please consider supporting these awesome artists. This would not be possible without any of them.

The background is by El Brujo de la Tribu.

The watch is by Vladimir Kunyansky, and the magic circles are by OgyaJanitra. 

The sling ring is by RadLadFrench and 3DTechDesign. I used some elements of each for one ring.

The hands and wraps were custom-made by CGFlow.

Titles are from Fanart.tv, just like my Vudu video.

Sad to say I really was just the idea guy on this one, and these creators, especially CGFlow, deserve the the credit for the poster. I just put all the pieces together once they were made or found. Again, please check out everyone's work and consider asking them for a commission.

People have really taken notice of movie posters lately, but it's been in an unexpected way. Lazy poster design is being called out across the industry, especially when it comes to franchise films. We're seeing the same color scheme, and we're seeing stars' faces arbitrarily filling the page. It gets the job done at a basic level, and maybe celebrities are causing the second problem and making it part of their contract for exposure, but ad campaigns at this scale need to vary. The movies have roughly two hours to cater to everyone. The posters have a few seconds.

Someone made a meme putting these three together, with the caption "I've Watched This [Disney] Trilogy 5 Times And I Still Have No Clue What's Going On."

This may be shifting to a new design all studios are adopting. So, that's a small win and loss. 

Teaser and concept posters can bring in the tiny piece of the movie-going population who doesn't know what a great guy Paul Rudd is, and luckily Marvel sometimes recognizes that.

It's also a great way to test if a movie, or some part of it like a character's look, will work or not. It can be done before production is far along and a lot of money is spent. And, most importantly, with open-source software like, as mentioned, Gimp ("free Photoshop") and Blender 3D, fans can put their own spin on these kinds of posters too. I was surprised some version of this Doctor Strange poster wasn't done already, so you'd be surprised what's not out there yet and waiting to be created. 

Update: I whipped up a quick variant cover version with a hospital by jdva3d

Read More

Morbius (2022) | Short Review

In Morbius, via IMDb, "Biochemist Michael Morbius (Jared Leto) tries to cure himself of a rare blood disease, but he inadvertently infects himself with a form of vampirism instead." And then his friend, played by Matt Smith, infects himself and Morbius has to kill him. That's about it, but the director, Daniel Espinosa, (Life) and writers, Matt Sazama & Burn Shapless, do what they can to fill up the 104 minute runtime.

The writing is some of the worst out there for a comic book movie, as the script doesn't just lack style and substance, but it lacks anything close to its own identity. On top of that, there's borrowing and stealing ideas from other projects, or filling pages with clichés, but it really feels like less than that, although the clichés are there. One of the lines in the trailer is about how Michael feels better than he's ever felt in his life after the experiment, but it has its drawbacks, too. 

If it's not something like that, Michael is just pushed along by the plot and barely able to make a decision. I'm not a writing expert, but I think plot-driven stories need to rely more on well-developed characters to keep us engaged, unless the plot mechanics are really interesting and out there. However, if I'm wrong or missing something about how that works, please let me know.

The action is okay, and the creature effects look really solid. The climatic fight scene gets a little tough to follow because of how fast the characters can move and teleport, but other than that...it's fine. Motion-capture was used to shift the leads in and out of their vampire forms, and the designs of their faces are nearly the only highlight of the movie.

The movie would be better if Michael was doing the "Lethal Protector" thing like Venom | Copyright 2022 Sony and Marvel

The other highlight would be Matt Smith. He is really good, and he channels Ewan McGregor’s Black Mask in his performance. It is the ounce of character in the entire movie, and I love my “woo” boys! It's worth nothing that Adria Arjona plays Doctor Martine Bancroft, one of Michael's friends and co-workers. She shaped her role after Alexandria Ocasio-Cortez, and that is awesome. Arjona is doing the best she can with what she's given, but Martine is pushed along in that same way as Michael. If this somehow leads to her playing AOC one day, or more people like her with more to do, that's excellent. Until then, Morbius gets graded on what it is, not what it promises. 

Speaking of which, post-credits and MCU-wise, it's difficult to even tell what it's promising. Those scenes did not balance out the cost of admission on this one, but they rarely do on Sony's solo Spider-Man movies. Remember that time there was an X-Men trailer instead because of a trade with Fox?

With Morbius, the studio was on cookie-cutter auto-pilot, and that’s somehow way worse than them mandating senseless shit. They rushed the skeleton of a script out and dared to call it a movie. We jump on Sony for throwing out ideas like an Aunt May or Silver Sable movie, but that really could be something. I mean the headline alone is out there, and a movie about one of comic's most beloved moms opens a couple of doors. Ignoring that the idea was for an espionage story, I'm seeing a drama that shares the same perspective of Kurt Busiek's & Alex Ross's Marvels. It's superheroes from the perspective of the people again, which, outside of Disney+ shows and DC, hasn't really been deeply explored since the early days of the MCU. If Sony and Marvel are going to maintain a contentious relationship, they should at least try to one-up each other. Right now, it's up to upcoming Kraven the Hunter to rise to the challenge.

Read More

The Batman (2022) | Spoiler-Free

The Batman is directed by Matt Reeves (Dawn of the Planet of the Apes and War for the Planet of the Apes). It is written by Reeves and Peter Craig (The Town), as they stitch together dozens of Bat-sources and incarnations. Non-Bat-sources, as everyone has noted the influences of movies like Seven and Zodiac, play a large part, too. However, this isn't a patchwork, but a deep, warm, red tapestry of a movie. It stars, among others, Robert Pattinson (Batman/Bruce Wayne), Zoë Kravitz (Catwoman/Selina Kyle), Paul Dano (Riddler), Jeffrey Wright (James Gordon), John Tuturro (Carmine Falcone), Andy Serkis (Alfred Pennyworth), Colin Farrell (Penguin/Oswald Cobblepot), and Jayme Lawson (Bella Reál, Gotham's mayoral candidate). The plot is that after two years of developing The Batman, the changing tide in crime isn't what Bruce expected. There's still deep-rooted corruption, but now there's an escalation and assassinations of high-ranking people in Gotham carried out by the mysterious Riddler. It's up to Batman and Gordon to try to get a step ahead of him and his puzzles.

So, let's start at the top with those sources. For the most part, everything with Batman has probably been done in some way, shape, or form. It's all about what hasn't been done in a live-action film yet, and which combinations of elements either haven't been tried before or work best. The notable source that's not a spoiler is the action, and some set design, being inspired by the Arkham games. Snyder and Affleck were too when it came to action, but they're still fairly different takes. Reeves and Pattinson are less gadget-reliant, as this version of the character is still experimenting with what utilities work best. He's also using armor that doesn't sacrifice speed and flexibility, but that's actually much more for Reeves and his crew than it is for the character. 

According to Cinema Blend, "Pattinson was working with eighth degree red and black belt Brazilian jiu-jitsu intstructor Rigan Machado ahead of The Batman." Fights are primarily hand-to-hand and rely little on editing. Any tiny cuts or breaks in the action are thanks to the darkness Batman operates in. That's until the firing of a gun or a bullet sparking off his single, removable batarang chest plate reveal a little more. Really, the movie's cinematographer, Greig Fraser (Dune), and the people responsible for lighting and color grading deserve special recognition for shrouding everything away from the light while still keeping it visually comprehensible and beautiful. In all honesty, I have no clue how they made that work, especially after I criticized No Way Home for their night-time scenes. Anyone who can further explain it, please chime in. The best I can come up with, and it's an oversimplification, is that less cgi was involved. 

 

I used their own artwork to update the 1992 Batman Returns poster | Copyright 2022 Warner Media

Onto the actors! To come right out with it, I need to see another movie with Pattinson before I can give him a fair ranking against most other Batmen. I think I wanted to see the looser, party-boy Bruce Wayne, even though it's a good thing we didn't get it, just for a fuller picture of his performance. Still, his Year One style narration that opens and closes the movie is fantastic. Ben McKenzie had that in the animated Year One movie, but it was overly stiff. This is closer to Jackie Earl Haley as Rorschach in Snyder's Watchmen, in tone, but it doesn't go overboard in over-the-top despair. It's the fine line that The Batman, luckily, comfortably walks. 

Zoë Kravitz, on the other hand, makes a great Selina and Catwoman, and it only took this movie for her to solidify that. Selina is more drawn from her sources than ever before, so Kravitz is given a lot to work with. Selina's frustration with the city radiates in ways that Bruce's can't, as she quickly sizes him up, behind the mask, as some kind of trust-fund kid. Blunt political, and racial, talking points of Joker (2019) are quickly handled much better through her, Riddler's plans, and Lawson's role as an AOC-like figure. And I very, very much appreciate that, and I'd add more if spoilers weren't at risk. Anyway, those sources include an interesting connection to mob boss Carmine Falcone, and I've never seen a stronger performance from John Tuturro. I've seen funnier and more out there, but I've never seen a show of real strength and power from the man. He and Kravitz are both inspired casting choices. 

Someone named Morris said "Jeffrey Wright is the best Jim Gordon and it's not even close." Again, I can't go that far without another movie, but we both agree on one thing, "they both go on the streets and both figure shit out." Especially for a first movie in a new set, is a slightly more hands-on Gordon than Nolan's and Gary Oldman's. It's a big benefit of that two-year head start. They're casual with each other, unless it appears one may have crossed the line. A close comparison is probably the Gordon and Batman of the 90s cartoon or The Dark Knight Returns. 

While it's still odd that Penguin isn't played by Richard Kind, since that's how Farrell looks under prosthetics, the only real problem with Oswald is we didn't get enough of him. Still, him only as a mid-tier thug is refreshing, especially for fans of the Arkham games, and it's probably the only time we'll see him with much of a funny bone that doesn't rely on breaking them. His interrogation by Batman and Gordon is a comedic highlight, as he mocks their inability to remember some basic Spanish in one of Riddler's clues. In returns, he's left of waddle in handcuffs until he gets picked up. It seems, the next time we see him, it'll be in an HBO Max show tracking his rise to power. Expect a lot of cruelty from him in it, and be ready to savor it. 

Finally, Paul Dano was absolutely pitch-perfect as Riddler. The character may be excruciating to hear to some, as he whines and pleads for attention and validation, but that is how small men like him should appear. When in control, Dano is menacing. One of his great strengths as an actor is an unassuming nature. That's been shown at least a few times over with Swiss Army Man, Prisoners, and There Will Be Blood. Pairing that with this character, he's able to twist reason and the symbol of Batman to suit his own needs, and gravitate people toward whatever side of reason that is. The movie comes together because of this. 

To start to close things out, I'll say that Reeves, Craig, and Pattinson have expertly created another "Brooding Bruce." To balance that out, they crafted a story and city where "it'll get worse before it gets better." A Gotham that never quite hits rock-bottom, although it gets close, is a great opening. A Bruce and Selina who share a kiss and haven't either is, too. Batman has hope. You can see it, and so much more in Pattinson's eyes behind the mask. And so does The Batman, and something like that has been missing from his stories for a while. Maybe because hope's usually more of a Superman thing?

Read More

Spider-Man: No Way Home (2021) | Spoiler Review

Seriously, spoilers. Also, thank you to my friends Louis and Matt for previewing this review. Please check out Matt's podcast, Saturday Morning Confidential, which takes a deep dive into nostalgic properties. 

In Spider-Man: No Way Home, villains from other universes get sucked into the MCU, after Peter Parker (Tom Holland) enlists the help of Doctor Strange (Benedict Cumberbatch) to re-conceal his identity as Spider-Man and the spell goes wrong. The movie also stars, among others who'll be discussed, Zendaya (MJ), Jacob Batalon (Ned Leeds, "Guy in the Chair"), Jon Favreau (Happy Hogan), Marisa Tomei (Aunt May), Jamie Foxx (Electro), and Alfred Molina (Doc Ock). Chris McKenna & Erik Sommers, and Jon Watts, return from Far From Home to, respectively, write and direct. 

Jon Watts also directed Homecoming, and he's proven himself to juggle the demands of bigger and bigger blockbusters...to a point. He, and Sony and Marvel execs, didn't deliver a perfect movie, but this could've gone wrong a hundred different ways. It just went wrong a few ways. So, while the majority of fans are praising this movie from the top of the Chrysler or Empire State Building, known hangout spots of Spider-Men, let's address the issues now. They're the action and some of the villains. 

With the exception of Into The Spider-Verse action in Spider-Man movies still has not been topped by the train scene way back in Spider-Man 2. Up until now, I used to think the sole reason why is that Sam Raimi and his crew thought of every possible maneuver Maguire's Spider-Man, or any Spider-Man, and Doc Ock could throw at each other at any given moment and left nothing on the table. That's all you need if your fight scene is staying on the page, but No Way Home made me realize that how every possible maneuver was staged and shot truly is what it's all about. It's not about visual effects, although that's a huge factor, it's filmmaking 101. Rather, it's advanced visual filmmaking, something that people have said that Marvel Studios brushes aside to instead focus on things like the characters, story, and humor of the universe. There's evidence to support these claims. If you don't want to watch that video because it's a bit illusion shattering, I can simplify things a little. 

Action movies need to stop setting their action scenes at nighttime, and producers and directors need to add more color to their movies, like these people did for them. This isn't always a problem, like in Guardians of the Galaxy and Thor: Ragnarok, but it's a weakness in the visuals that leads to seeing different kinds of weaknesses in the visuals. Some parts of Thor Ragnarok, at least to me,  look they were quickly shot from just one angle on a soundstage. The environments of those particular scenes were stylized, but it's still a problem. Suddenly, it's done during a living room scene, and something just feels off. It becomes a repeated problem until it's not seen as a problem anymore. It may be seen as lacking, but accepted. Other people can go more in-depth when it comes to these production issues and the practical reasons why they happen, so let's go back to No Way Home as the main example. 

Title Poster, for when your thumbnail can't contain spoilers, even when the review does | Copyright 2021 Sony and Marvel Studios

The action in this movie has the most weight when it's stripped down and raw. Yes, that's appropriate, but those fun scenes should have something like that weight too. Holland's web swinging finally does, when it's shown in the daylight, but his webbing people up, less so. Luckily, he starts throwing punches, hard punches, a lot of them, and for a heartbreaking reason. 

The Green Goblin, aka Norman Osborn (Willem Dafoe), kills this universe's Aunt May during a battle with Spider-Man, and Spider-Man nearly responds in kind. It feels brutal, as an onslaught of pain is brought upon Goblin. They begin out of fear of what Norman may do, and then they come from vengeance. Those punches are coupled with a great performance from Holland. He's never been better in this role, as Peter is put through the trials of what people are basically calling his official origin movie. His quieter moments are played more understated than ever, as this version of the character has faced, arguably, more loss and has become more beaten down by life than his two counterparts. But one of the character's greatest strength, across universes, is helping others find their strength and resolve. So, let's talk about more bad guys. 

So, the returning roster of big baddies also includes Thomas Hayden Church as Flint Marko/Sandman and Rhys Ifans as Curt Connors/The Lizard. At least, I think it was them. Sandman is all sand until the very end of the movie, and similar can be said about The Lizard. I wasn't completely certain it was Ifans voice. Maybe they weren't interested in returning fully, maybe there were scheduling issues, or maybe it was because of Covid.  Whatever the case, all understandable, it's noticeably felt. Flint Marko's deal basically is that he just steals to live, he's not homicidal or anything like that, and he wants to go back to see his kid. He's sensible. This movie's deal is that Peter is trying to save and cure the villains because everyone deserves a second chance. Of course, not all of them are going to be okay with that, but Sandman should be. They set it up in a way where he doesn't really trust the people trying to help him, but again, he should be more sensible than how he's presented. And Lizard, stuck in his transformed state, just doesn't think straight. It's...fine. Maybe it's better than spreading everyone out and too thin, which these movies always risk doing. Plus Church and Ifans got full enough characters the first time around. Jamie Foxx's Electro, on the other hand, didn't. 

As a refresher, he was just stereotypical nerd, and a Spider-Man fanboy, then he feels slighted by the wall-crawler after a misunderstanding. He's not given a full story arc or anything like that, but Electro's desire to been seen and have power is carried over well from his previous movie. With an arc reactor, he has that chance. Quick sidebar, we all thought we weren't going to hear that sound again, didn't we? Anyway, it helps immensely that Foxx doesn't have to act under as much makeup this time. He must've been promised the chance to really have fun with the role, and he took them up on it. Andrew Garfield definitely did that, and so did J.K Simmons as J. Jonah Jameson. We should touch on J.J for a second, before discussing my favorite actor. Not my favorite actor in this movie, my favorite actor period. 

I really wish they didn't go the Alex Jones, conspiracy theorist route with the character. This isn't Raimi's Jonah, but it still feels like character assassination. He can serve the same purpose in this story by just having Spider-Man be his one blindspot when it comes to behaving like a real journalist. Simmons has no issue with the new approach, though, and he gleefully hocks Bugle-branded supplements on the air. 

So, I checked what people were saying after the movie, and people did note how it addresses where Garfield's movies fall short. What I picked up on in the theatre was Maguire giving him some much needed encouragement when they're sharing stories. Acting as Uncle Ben like as we wished:

Garfield: "I'm lame compared to- I fought a Russian guy in like a rhinoceros machine."
Maguire: "Can we rewind it back to the I'm lame part? You are not."

Garfield (Kinda Jittery): "Thanks. No, yeah, I appreciate it. I'm not saying 'I'm lame'

And Maguire says that he should may need to work on how sees and talks about himself, and he adds, "You are amazing. Just take it in for a minute, you are amazing," and you need to say that about yourself.

Garfield: "I kinda needed to hear that."

People today still say that this version of the character looks too cool and handsome, and some still harp on the skateboard. That stuff doesn't mean much if your self-confidence is low and you see something else in the mirror. Fucking trust me on that. It's a reading to far into things, but it's fitting that his mask in the second movie is attached to the front of his costume in a way that he can very quickly hide his face. Most blow past the fact that Gwen asks him out, and that's one of the scenes that always stuck with me because it's one of the reasons he became "my Spider-Man." The exchange reminded me of this post I made a few years ago.

This reunion for the fans isn't solely built on the references and memes that we've been making and awaiting. It's built on something real and necessary. We get an idea of what an Amazing Spider-Man 3 could've been after fighting Rhino. It's a Peter who struggles to keep going after Gwen's death and puts anger back into his vigilantism, the same way it began for him. It's something we may not have wanted to see. We get a good look at how Maguire would appear in a followup to the Holy Trilogy, too. I'm happy to report he's doing okay. Other have noticed he has serious Peter B. Parker energy from Spider-Verse, as he should. Also, this reunion for the fans is built up to, with the movie having a pretty strong opening that for the most part doesn't rely on the team-ups. 

Peter, MJ, and Ned are finally a proper trio, after the first two movies kinda had to slowly bring MJ into the fold. The best and easiest comparison to make is the Harry Potter trio. It's not in the character-types but in the actors' chemistry. Adding an annoyed Doctor Strange to the mix has its moments too. His title still being butchered to "Wizard" is a throwaway joke that never gets old. 

The movie's close is equally strong. With May's death and Doctor Strange's original spell needing to go through, this version of Peter is back to a square one we've never quite seen before. Everyone knows Spider-Man, but no one knows Mr. Parker. Iron Man Jr. is no more, and we find ourselves in a one-room apartment (sorry, Mr. Ditkovich cameo) with a, seemingly, beautiful fabric suit. We don't get the best look at it, like the film's action, and hopefully some official pictures are shown after a couple weeks.

Marvel Studios and Feige are still involved in these movies, but if shit goes south between Sony and Marvel, they set it up right. They set it up so that while we may sacrifice some characters we know and love, we may get well-lit battles back. It's a fair trade-off brought after one of the highest highs a Spider-Fan can experience. That's what this movie was too, a fair trade-off. MCU style, for all of its pros and cons, with the interpretations Sony helped build, with all their pros and cons. 

Just under four is as objective as I'm willing to go. Praise the powers that be for doing right by many of these characters, these actors, and the fans, but don't just hand-wave issues either. Having said that, a big thank you to every person on this project who put together a real-world "Amazing Fantasy." You made us all truly happy.

Read More

Ghostbusters: Afterlife (2021)

This review is mostly spoiler free, for people who are avoiding trailers.

Let's get the hard part out of the way immediately. In this movie, one of main characters, Phoebe (Mckenna Grace) makes a new friend at her new school. Here's how that goes:

"I call myself Podcast, because of my podcast." That effectively is Logan Kim's character's name.

I was going to reference that old email hack/leak and say that Amy Pascal and the higher-ups at Sony Pictures haven't learned anything in at least nine years, but it turns out the skateboarding in The Amazing Spider-Man was actually Andrew Garfield's idea. (Give the man an Oscar this year, please.) Plus, the results are the same. Something inserted into the movie to stay trendy actually has some genuine meaning or payoff to it, and the actors and other filmmakers make those things work. Ghostbusters: Afterlife just has a lot of that. There's a conflict just in what the movie is that can be seen and felt. 

Ghostbusters: Afterlife is a direct sequel to Ghostbusters II. The 2016 reboot is now its own separate thing, and the same can probably be said for the 2009 video game that kinda-sorta was Ghostbusters III until now. So, with all that being said the basic plot of Ghostbusters: Afterlife, from IMDb, is "When a single mom and her two kids arrive in a small town [called Summerville, Oklahoma,] they begin to discover their connection to the original Ghostbusters and the secret legacy their grandfather left behind." It stars Carrie Coon, Paul Rudd, Finn Wolfhard, Mckenna Grace, Logan Kim, and Celeste O'Connor. Since it's a direct sequel, some legacy cast members may pop in. It's directed by Jason Reitman, written by him and Gil Kenan, and Ivan Reitman returns as a producer.

It's probably best to star with Finn Wolfhard because of the Stranger Things/It/80s vibes of his casting. The way this movie grapples with nostalgia is that it knows if it goes all-in people will, for the most part, pissed. So, it's incredibly selective what it brings back in a way where I couldn't tell when the movie took place. Except for a couple lines of dialogue and the timeline having to fit so that somebody could be a grandpa, this could take place in the 80s or 90s. Instead, Summerville is more like one of those tiny towns that time forgot. Like one John Oliver may cover in one of those invisible injustice kind of episodes. So, one of the featured locations is a car-hop diner, and how out of place it looks will vary from viewer to viewer. Wolfhard plays Grace's brother. He's not given as much to do as he probably should, but one of the first big legacy scenes comes from him, and it's pretty wonderful. Drifting in a field in the Ecto-1, with only a learner's permit, is something that dreams are made of. It's even more heartwarming when there's an Ecto-1 in your area that's occasionally in the movie theatre parking lot.

The other great thing from him is that his scenes with Celeste O'Connor give Summerville a lived-in quality that helps explain that clashing feeling in the town's look. You could easily become stuck there. Whether that's really for better or worse is not really addressed, so that leaves the question more open than most movies that bring up the idea. It's actually pretty fitting, since Reitman's movie Young Adult, reviewed here, really dives into that.

Mckenna Grace as Phoebe (Right), action hero, and Logan Kim as Podcast (Left), capable sidekick | Copyright 2021 Sony Pictures

Mckenna Grace and Carrie Coon's first experiences in Summerville are on the more mysterious side of things, and they both work really well off of each other and Paul Rudd. 

A lot of the emotional moments of Afterlife come from Grace and Coon learning more about the upbringing they never really had and coping with it. Reitman could, in a lot of successful ways, push this heavily, but instead it's done just enough so that the momentum of the plot, for the most part, doesn't suffer. The movie's editing is a bit choppy in this way, as one discovery is interrupted with a check-in with Wolfhard back at the diner, and it seems like something that could've been left out. It's meant to build up his relationship with Celeste O'Connor, but I think better scenes later on end up doing that anyway.

Finally, there's the humor, effects, and action. Jokes largely do land, and I laughed out loud a few times in the theatre. Most of the time, this was because of Rudd or some visual gag with a ghost, but everyone delivers in some respect. 

A personal favorite, is when one of the kids says they can't even get any bars on their phone, Coon says there better be at least one. This one, luckily, is the only one ruined by Grace pointing out that it's a joke. Just to be clear, both give great performances, and Mckenna Grace is especially phenomenal. If you haven't seen her in Gifted, go check it out. She and Logan Kim are given what could've been two of the easiest roles to forget, if this was bad Ghostbusters movie, but she's given a lot of time to develop Phoebe, and Podcast has a real charm to him.

Jokes are actually a big part of Grace's character, as she's told to use them to break the ice in Summerville, but it could've been handled better. She does some pretty standard stuff out of a joke book, and I wonder if something really funny, but also really weird or awkward, and science-based could've been done instead. What we get is somewhere between wasted opportunities and eye-rolling moments. Early on, I was afraid there'd be more of them and that they wouldn't go anywhere...not that they leave a huge impact in the end. 

In a huge surprise, to someone who follows this stuff, Sony Imageworks didn't do any of the special effects for Afterlife. Companies listed are Double Negative, Instinctual VFX, Moving Picture Company, and Proof. They all did a gorgeous job, especially considering that they had to, among other tasks, update our beloved Mr. Stay-Puft. 

The major action set piece is a chase to capture a Slimer-like ghost. Tailing him in Ecto-1, while using an RC-Car/Trap, it's a good to modernize things. It's not too much, and it fits the established world. 

Having said that, I would like to say that the 2016 reboot had a lot of fun with their gadgets, the Ghostbuster's logo actually being a ghost for a minute was a delightful surprise. That second one is what told me it was more than a cash-grab, at least to some people involved. There was a lot more stuff like that, this time around.

Along with the lived-in world, little character moments, and surprises all its own, there's one I'd like to point out. After the heroes claim their victory, all the ghost are captured, and everything settles down, Podcast meets the sole subscriber of his show. This guy, an occultist himself, on-screen and off, is a big fan of Podcast's podcast, Mystical Tales of the Unknown Universe (MT-double-U).

To find out who this occultist is, if you're staying away from trailers and spoilers, go see for yourself. You'll have a good time, and Ghostbusters: Afterlife may even hit you in the heart a little.

Also, my area has a Ghostbusters-centered non-profit. Hudson Valley Ghostbusters raises money for a variety of charities that they partner with, while appearing in costume at local events. They have their own Ecto-1 that I've occasionally seen in the area. I think we also have a local Mystery Machine, but I have no clue what that's about.

Read More