Text © Richard
Gary / Indie Horror Films, 2021
Images from
the Internet
Mainstream Reviews: Ghostbusters (2016); Hansel & Gretel: Witch Hunters; Monsters vs. Aliens
Most of the films I
watch were made for under $5,000. These were all made for multiple millions.
It’s rare I find the time for mainstream theatrical releases, but like eating
lettuce, sometimes it is good to clean the palate and try something sumptuous.
Does that mean it will be that much more delicious? Well…
Ghostbusters (aka Ghostbusters 3; Ghostbusters: Answer
the Call)
Directed by Peter Feig
Sony; Columbia
Pictures; LStar Capital; Village Roadshow Pictures; GhostCorps; et. al
105 minutes, 2016
Who you gonna redial?
First of all, I am watching this on Netflix. It is 105
minutes long. On IMDB, it’s either 117 minutes, or the extended version is 137
minutes. Not sure what all that means but there ya go.
When this film first came out, it was both reviled and
praised, which is addressed in a meta email in the film that the titular group receives
that reads “Ain’t no bitches gonna hunt no ghosts.” Love that they made the
person sound like an ignoramus. As I didn’t see the theatrical run, I figured
it was time to catch up. My partner really liked it.
In the first 10 minutes or so, I can see that this is
not as much a remake as a reimagining, and not just because it is estrogen-based
rather than testosterone. The opening sequence, which is iconic in the first one,
is more violent, and trying too hard to be funny (e.g., “…one of the most
elegant homes in existence featuring every luxury including a face bidet and an
anti-Irish security fence”).
Like a Zenn Diagram, there definitely are some overlaps
with the original, with Erin (Kristen Wiig) in the Bill Murray role, Abby
(Melissa McCarthy) as Dan Ackroyd, Holtzman (Kate McKinnon) playing the late,
great Harold Ramis (d. 2014), and Patty (Leslie Jones) as Ernie Hudson. While
the first was mostly a mix of members of “Saturday Night Live” and “SCTV,” this
one is nearly all “SNL”-flavored.
One can look at this as a continuation of Bridesmaids (2011), much as Abbott and Costello were essentially playing the same people as different characters. Problem is, I really did not like Bridesmaids – as popular as it was – because it felt like it was trying way too hard, though I respected the cast. For me, the only one of the cast that came out well was McCarthy. Here, though, everyone is pretty used to working together, so they are better equipped to bounce off each other’s energy rather than trying to top it. In this release, McKinnon’s talent is pretty wasted to essentially being second banana to Wiig, with the latter playing her usual type of characterization, McCarthy is as sharp as a tack, and Jones does an amazing job. Rather than her known brash side (which was great in her stand-up special, “Time Machine”), Jones comes across as charming and her line delivery is spot on.
Rounding out the cast is some decent smaller roles,
like Chris “Thor” Helmsworth (which is what he will be forever known as, like
it or not) in the receptionist role that mixes Annie Potts’ character with Rick
Moranis’ role (pretty-but-dumb-as-a-doornail), Andy Garcia as the Mayor and “SNL’s”
Cecily Strong as his assistant.
There’s lots of good cameos, such as Ozzy (do I need
to say the last name?), Bill Murray (playing a ghost denier, of course, in
arguably the “Walter Peck” role), Dan Ackroyd, Ernie Hudson, Sigourney Weaver, Annie
Potts and the green hot dog eating blob from the original, Ed Begley Jr., Joel Murray
who I haven’t seen in a dogs age, Elizabeth Perkins, and an indie actor who has
been in a few films reviewed on this blog, Hannah Heckman-McKenna.
The ending of the original of the gigantic Stay Puft Marshmallow
Man (also referenced in this film) is, again, iconic, so the question is how
can they if not top it, then rival it? Well, they do pretty well as they deal with
the villain of the piece, incel Rowan (ex-“SNL” writer Neil Casey).
While overall I enjoyed the film a lot, despite the
naysayers, I did have one question that appears to be a big hole in the story:
what made the last spirit (I’m not going to say who to spoil it for others) so
powerful near the end? Why is this ghost different from all other ghosts?
Hansel &
Gretel: Witch Hunters
Directed by Tommy
Wirkola
Paramount Pictures;
MGM; MTV Films; et. al
88 minutes, 2013
This film made over $200 million worldwide, and has some major stars in
it, like Marvel Universe’s Jeremy Renna as Hansel, Bond “girl” Gemma Arterton as
Gretel, and Framke Janssen, who was in both Marvel and Bond worlds, as the head
witch.
Expanding on the Van Helsing (2004, starring
another member of the Marvel clan) philosophy, there are many anachronistic elements
as the story strides to bring in modern technology, such as a gatling gun,
insulin, newspapers, fanboys, and even a portable taser in a time before
electricity was discovered. And don’t get me started on the photograph. This is
supposed to be small town Germany in the late Middle Ages. It does have some
humor that works though, such as putting the drawn pictures on milk bottles
(wonder what they used for adhesive…).
The film comes across as sillier than anything else,
though I will admit the level of violence and gore is enjoyable, especially a
guy being torn apart by his limbs (this was actually a legitimate punishment in
those backwards times).
One of the more subtle elements, that is more
noticeable now than when the film was released in pre-Trump days, is the
“Republican” mindset of punish anyone without any proof, unquestioningly just
on the word of those in authority. This was also common back in the Middle Ages,
with tens of thousands of women being burned as witches across Europe for no
concrete reason other than being accused of it by men (for refusal of the
male’s advances, knowledge of medicinal plants, someone wanting their property,
etc.), as almost happens in the film. While the story plays like it is 19
Century Germany, which would explain at least some of the technologies
presented, witch burning was not common by that time, even in rural areas of
Europe. Perhaps they are trying to emulate something like Streets of Fire (1984),
which is a 1950s/’80s hybrid.
What drives me crazy is the toxic masculinity at play,
which often presents itself in genre films. For example, the fanboy, Ben (Thomas
Mann, essentially playing the Brandon role from 1999’s Galaxy Quest) sexually
takes advantage of Gretel, and Hansel is too macho to ask for help from his
love interest, Mina (Pihla Viitala). As much as indie films get the razz for
being sexist, it is very present in mainstream as well. Just look how much
cleavage is thrust into our faces, including a few downblouse shots of Gemma (mind
you I am a fan, but still…). I should add though, for those interested, we also
do get to see Renna shirtless.
Viewing a world of positive “white” and evil “dark”
witches, I kept hearing Glinda’s shrill voice in my head, “Are you a good witch
or a bad witch?” The best witch, to me, was the aforementioned gore one, as
there is a lot of it in here (hence the R rating, more than Mina’s tush),
especially in the third a when the sibs come to the witches gathering. Most of
the CGI looks rather good, and Renna certainly knows a thing or two about green
screens. However, what I found annoying was an unnecessary death modeled on the
Van Helsing film, which kind of ruined the vibe for me.
Monsters Vs.
Aliens
Directed by Rob
Letterman and Conrad Vernon
DreamWorks Animation SKG
92 minutes, 2009
First of all, a nod to using The Exciter’s “Tell Him” early on is a good
start. So, we’re in animationville, so there will be no question of whether it
is going to be CGI or application SFX.
I
have to say I’m a fan of the type of animation they use here, looking similar
to The Incredibles (2004; Jeez, has it really been that long?!).
Much
like Ellen Muth’s character getting hit with a toilet from the sky in “Dead
Like Me,” our heroine here, Susan, is hit by a glowing meteorite on her wedding
day, without Muth’s sarcastic comment. This causes her to glow and grow to a size
rivaling the titular Attack of the 50-Foot Woman (1958), especially in
the scene where she reaches into a building and grabs someone. Before you can
say “I do,” the government pulls a Gulliver’s Travels (1939, 1960, etc.)
and has her bound.
Given
the name Ginormica, she’s locked into a “monster prison” with others (i.e., the
comic relief), such as a not very smart blue blob with one eye called B.O.B.,
who’s history film is right out of the movie theater scene in The Blob (1955)
– and a nod to Ghostbusters (1984) referencing a hotdog cart – a mad scientist
genius with the head of a cockroach acknowledging The Fly (1958, 1986),
and a “Missing Link” gill man similar to The Creature From the Black Lagoon (1954).
She feels like a stranger in a strange land of monsters.
But
the name of the film includes “Aliens,” so you know some evil ones are
on their way. Despite the four eyes, they look very similar to the creatures in
Mars Attacks (1996). Sending down a robot to check things out like The
Day the Earth Stood Still (1951), their plan is to retrieve the meteorite that
“grew” Ginormica, “with extreme prejudice.”
Of
course, there’s lots of reference bytes all over the place, such as Close Encounters
of the Third Kind (1977), E.T. the Extra-Terrestrial (1982), and
even Beverly Hills Cop (1984), in one scene alone, though that part is quite
amusing. In another, there is a similarity to the bridge scene from Final
Destination 5 (2011). There is even a Slim Pickens bit from Dr.
Strangelove (etc.) (1964). And of course, there is a direct mention of the
ultimate sci-fi spoof, Spaceballs (1987).
Needless
to say, our “monsters” are going to go up against the aliens. Who is going to
win? Well, technically, it’s an adult-spiced family film, so do the math.
While
there is a multitude of borrowed bits strung together, there is two
positives, beyond the decent animation; first, the writing of the dialogue is
pretty funny, and also it is obvious whomever did this was a movie fan and was
able to cobble all these little pieces into a coherent storyline (relatively)
that anyone with a love of cinema is bound to enjoy with dozens of a-ha
moments.
One
way you can tell if a film is indie or mainstream is by the soundtrack. In this
case, they could afford to pay the rights, and there is some great sounds here,
such as Sam the Sham and the Pharaohs’ “Wooley Bully” (one of my ultimate
faves), Sheb Wooley’s “Flying Purple People Eater,” and the B-52’s “Planet
Claire.”
