Ghostbusters: Afterlife seems to be a particularly apt title for the franchise. For something to have an afterlife, it suggests that it must be dead and there is an attempt at a resurrection. This new Ghostbusters film was always going to be a cynical exercise of corporate resuscitation, especially after the toxic reception by “fans” to the 2016 female-centric Ghostbusters remake. Whether that film was good or not, it at least captured the feeling of the original 1984 film. This new one from Jason Reitman, the son of the director of the original film Ivan Reitman, while undyingly devoted to the lore of the 1984 film, completely misunderstands why that film works.
The film is unrelenting in the nostalgia that it revels in. But, this nostalgia is not even rooted in the original film. Rather it is rooted in this idea of the 1980s that has become corporate currency in media like Stranger Things and the 2017 film It. The film follows the estranged daughter of Egon Spangler (Carrie Coon), the original Ghostbuster played by the now deceased Harold Ramis, a single mother of Trevor (Finn Wolfhard), whose only character trait seems to be that he is a horny teenager, and the precocious socially awkward, STEM-loving, Phoebe (McKenna Grace). They move to Oklahoma to settle the Spangler estate when they discover that there are ghosts that need to be busting or else the apocalypse will occur. Also Paul Rudd is around to be the obligatory adult and Ghostbusters fanboy audience surrogate as a summer school teacher, and there is a character named Podcast (Logan Kim), who does,,, well, podcasts. The new characters are fine if not memorable.
The film is set in the present day, but the fashion, the technology, and the whole vibe are Amblin in the 80s including focusing on the children who are set to become the next generation of Ghostbusters. The script does some serious gymnastics to make sure that modern technology does not appear in the film. The town has no bars which explains why no one is using cell phones which already is dumb. That also doesn’t explain why everyone is using a wired landline. Why is Paul Rudd playing videos on VHS of Cujo and Child’s Play?
The film’s reveling in 80s nostalgia for a film set in the present day is unbelievably baffling, especially when the film is about The Ghostbusters. Those films were a product of National Lampoon alumni whose whole ethos was rebelling against the systems at large. The Ghostbusters partially worked due to its focus on these irreverent anti-authoritarian figures in the middle of Yuppie Reagan New York City. Dan Akroyd gets fellated by a ghost for goodness sake.
So to have a movie reverential to not only the time but to a movie in which the main character and I cannot emphasize this enough gets a ghost blowjob seems baffling. Who exactly is Ghostbusters: Afterlife for? It is certainly a competently made movie and is never not entertaining. But, does it really matter that we explore the origins of Gozer the Gozerian? Why are the stay puft marshmallows back when in the original film, that was a specific manifestation by an individual person.
I was left with more questions than none because this Ghostbusters: Afterlife is really a representation of a mode of movie-making that is incredibly disheartening. These are exercises in affirmation and fan service in a way that reduces it to nothing more than content. Movies are constantly reasserting that fandoms are important and well deserved by putting this undue importance to the silliest of things. What is left is something that the original product never truly was. A manifestation. A specter.
Ghostbusters: Afterlife Trailer
Ghostbusters: Afterlife is currently in wide theatrical release.
In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Are we sure this isn’t a John Hughes movie? (Yes, we are.)
Spider-Man: Homecoming is the sixth live-action Spider-Man movie to be produced since 2002. A decade after the original Sam Raimi Spider-Man, and only five years since Spider-Man 3, Marc Webb directed The Amazing Spider-Man, closely followed by The Amazing Spider-Man 2, which performed well below expectations and quickly tanked the burgeoning Sony Spider-Man universe. (For a refresher on Spider-Man rights and Sony, click here.) So, finally, we wind up here: Spider-Man: Homecoming, directed by Jon Watts and starring Tom Holland as the titular web-slinger, finally a member of the MCU. It really did feel like a homecoming, and to have Spidey folded into the MCU proper seemed a much better use of his character than Sony’s floundering attempts to make their own universe (though Marvel being forced to rely on their lesser-known characters such as Iron Man to kick things off certainly helped keep them on their toes as they started this endeavor). But how to differentiate this Peter Parker from Tobey Maguire and Andrew Garfield?
The first answer: ditch the origin story. Have Peter’s parents and his uncle Ben be long dead. There’s no “with great power comes great responsibility”—we got our version of that in Civil War, but from Peter himself: “When you can do the things that I can, but you don’t, and then the bad things happen, they happen because of you.” Everyone had been inundated with Spider-Man origin stories for a decade-and-a-half. Everyone knew Peter Parker’s parents died in a plane crash, and that Uncle Ben bit the bullet afterwards. By respecting the intelligence of his audience, Jon Watts trimmed any excess fat so we could jump right in with Peter (of course, Peter’s appearance in Captain America: Civil War helped, making doubly pre-established by both pop culture at large and the MCU).
Who is our Peter, though? His origin story might be cut, but is he just going to go through the same plot beats as his predecessors? And so we arrive at the second answer: have this Peter actually act like a 15-year-old. Tobey Maguire and Andrew Garfield were 26 and 27, respectively, when they first played their Spider-Man, and by their later entries they were 30 and older. Tom Holland was 19 when he was first cast in Civil War, and his small stature and bit of a baby face let him pass as a high schooler much more easily than Maguire or Garfield. But it’s not just his appearance that makes MCU Peter seem so much younger than his counterparts: it’s him getting excited over a LEGO Death Star, jumping on the bed, awkwardly trying to impress the girl he likes, struggling to look intimidating to criminals, walking down the halls and seeing excruciatingly awkward student news, making a jumprope out of web when he gets bored.
He even starts the film by making a vlog about his time in Germany during Civil War, and if his overeager, fast-talking nature doesn’t immediately win you over, then I don’t know what to tell you. Bright-eyed and bushy-tailed, Peter jumps at the chance to be an Avenger, and even after months of no contact from either Tony Stark (Robert Downey Jr.) or Tony’s head of security, Happy Hogan (Jon Favreau), he still bolts to get into his suit after the last bell rings and leaves long voicemails for Happy detailing the bicycle thefts he stopped that day. The realization that he’s just a kid is almost overwhelming, especially when he’s silhouetted against the enormous backdrop of New York City.
His interactions with Tony and Happy provide the third answer on how the MCU sets their Peter apart: have him immediately connected to the universe at large. This is a solo movie, but it’s one that never lets you forget you’re watching an interconnected world, as Peter spends so much of his time trying to live up to Tony Stark (Robert Downey Jr.). Grappling with the expectations of the adults in his life not only gives Peter a good arc and characters to butt heads with, but also reminds everyone that there is a world outside. (Chris Evans also makes a cameo in his ridiculous, ear-less suit from The Avengers that perhaps eclipses even his Loki impersonation in Thor: The Dark World.)
Peter has been spending a bit too much time thinking about the world outside, though, to the point where he even quits his last remaining extracurricular, the academic decathlon, much to the chagrin of his friend, Ned (Jacob Batalon), and the team captain, Liz (Laura Harrier), whom Peter has a raging crush on. Luckily, the MCU has never been one for secret identities and the long, drawn-out dramatics they entail, and so Ned finds out very quickly about Peter’s double life, though it’s still hidden from Peter’s aunt May (Marisa Tomei) and the rest of his classmates, including bully Flash Thompson (Tony Revolori) and loner Michelle Jones (Zendaya).
Despite Tony’s advice to be a “friendly neighborhood Spider-Man,” we can’t watch Peter eat churros on rooftops all day, and so Peter soon stumbles upon a weapons deal between Jackson Brice (Logan Marshall-Green), Herman Schultz (Bokeem Woodbine), and Aaron Davis (Donald Glover); however, these weapons are no ordinary guns. Peter confronts Brice and Schultz after they pull their weapons on Davis, and a merry chase ensues that lovingly rips off Ferris Bueller’s Day Off.
Soon, however, a Vulture sweeps down from the sky, and Peter gets introduced to the film’s villain, Adrian Toomes (Michael Keaton, who loves playing his bird-inspired roles). Toomes, as with so many Marvel villains, owes his origin story to Tony Stark: he and his salvage company were hired to clean up New York after the events of The Avengers, but when Tony partnered with the U.S. government to assist the efforts, the Department of Damage Control came in and seized Toomes’ job, leaving him high and dry. Toomes managed to steal some Chitauri technology and create weapons with it, and soon found himself wealthy, with high-powered weapons and a big bone to pick.
Peter only makes it out of this confrontation alive because Tony sends one of his suits to help, but he insists on taking down Toomes himself to prove his worth as an Avenger; after various fun sequences, including a delightful montage of Peter discovering all the high-tech things the suit that Tony gave him can do, he follows Toomes to a weapon deal on the Staten Island Ferry. His overeagerness proves his undoing, however, and in his rush to stop Toomes, he foils an FBI raid (one called by Tony) and fails to stop a weapon from slicing the Staten Island Ferry in half, yet again needing to be saved by Iron Man.
The ensuing verbal beatdown between the two is a fantastic little scene, with Downey making the most of his very limited (and very expensive) screentime. When Tony calls Peter 14 and he weakly protests, “I’m fifteen,” he absolutely feels 15 in a way that no other onscreen Spider-Man has. He feels very, very small. “This is where you zip it, alright? The adult is talking,” Tony snaps.
Much of Homecoming’s strength lies in its willingness to not only be a superhero film, but a coming-of-age dramedy; Watts does a tremendous job integrating the life-or-death stakes of Spider-Man’s world with the high school drama of Peter’s world (after all, high school certainly feels life-or-death at the time), and the resulting balance is by and large superb. The MCU is at its best and most creative when it stretches the superhero genre and fits it into new shapes, such as Winter Soldier’s political thriller and here, where Homecoming takes a cue from John Hughes. While the other Spider-Man movies were set in high school, they seem only to acknowledge the fact obliquely; here, Watts neatly marries Peter’s coming to terms with his newfound power with his coming-of-age, making them one and the same. They don’t just happen to coincide, they’re entangled with each other, and it makes for a well-structured, more engaging story. (One that even gives Tony some more depth, too: Peter says, “I just wanted to be like you,” and Tony replies, “And I wanted you to be better.” Tony, go to therapy, buddy.)
And so Tony scolds Peter like the child he is and takes away Peter’s suit. Peter, with nothing else to do, begins to pay more attention to his high school life—he even works up the nerve to ask Liz to the homecoming dance, and she accepts. Things seem to be looking up, if not looking as exciting, for our hero. Until, that is, he goes to pick up Liz for the dance and discovers that her father is none other than one Adrian Toomes, a twist that blindsides both the viewers and Peter himself.
The resulting car ride to the dance, as Peter tries to keep his cool and figure out how much Toomes knows, and as Toomes slowly begins to realize that his daughter’s date isn’t just a nervous 15-year-old, is among one of the tensest scenes in the MCU. Keaton is fantastic, and cements himself among the best Marvel villains (the bar is middling, but still): he easily switches from loving father to merciless killer in seconds, and the flicker in his eyes as he realizes Peter’s true identity—and the stoplight changes from red to green—is eerie. He gives Peter one last chance, though, and offers to let him go if he promises to leave Toomes alone. But with great power comes great responsibility, and so Peter ditches the homecoming dance and goes after his date’s father. (We have pretty firmly left John Hughes territory at this point.)
Vulture, like Michael B. Jordan’s Killmonger in Black Panther, is one of those Marvel villains whom the movie has to go out of its way to establish as a murderous bad guy, because otherwise we would sympathize with them too much. When Peter points out that “selling weapons to criminals is wrong,” Toomes retorts, “How do you think your buddy Stark paid for that tower, or any of his little toys? Those people, Pete, the rich and the powerful, they do whatever they want. Guys like us, like you and me… they don’t care about us. We build their roads and we fight their wars and everything… We have to pick up after them. We have to eat their table scraps.”
Everything Vulture says is true. Were he not been attempting to kill a 15-year-old kid, he would be quite reasonable; in fact, he might even be likeable. Yet the validity of his points goes undiscussed—at least in Black Panther, Wakanda found a way to help execute Killmonger’s dream, just in a different way (though the effectiveness of that way—through United Nations bureaucracy—could certainly be questioned, and how exactly they plan to eliminate oppression remains vague and politically formless); here, neither Tony nor Peter acknowledge the root of Toomes’ grievances. They make him a compelling villain, but it would make for a more compelling film if Toomes’ motivations had any effect on Peter. As it happens, they glance off Peter even though they should force him to do some serious self-reflecting on his mentor, especially as Peter himself comes from a lower socioeconomic background, something which typically informs much of his character. But the MCU version of Peter Parker, helped by wealthy benefactors, largely skates around this issue and never disrectly addresses his financial state; in fact, Civil War does a better job at this than Spider-Man’s titular movie, so what could and should cause inner conflict for Peter only serves to make Toomes a more interesting antagonist, doing nothing for his heroic counterpart.
Even if this dynamic gets underexplored (a frustratingly common theme with Marvel films and their villains, but alas), the mano-a-mano beatdown between Spider-Man and Vulture is exhilarating and anxiety-inducing—perhaps even tear-inducing as Peter, having been buried under piles of rubble by Toomes, cries out for help, and we are once again reminded of just how young he is. If Tom Holland was superb at playing the comedy towards the beginning of the movie, he’s even better here: Peter hyping himself up to push away the rubble by yelling, “Come on, Spider-Man!” is not only a reference to this comicscene, it’s a beautiful encapsulation of his character arc in this movie. Even without his fancy suit, even in glorified pajamas and buried under a mountain of concrete with blood caked everywhere, Peter is a superhero. “If you’re nothing without the suit, then you shouldn’t have it,” Tony tells him earlier in this movie. Well, he certainly isn’t nothing, not anymore. (And yes, it’s very interesting that Tony, who relies so heavily on his suit, is pushing his protégé to be more than one. “And I wanted you to be better” indeed…)
Though charged with the unenviable task of reinventing Spider-Man for the third time within 15 years, Spider-Man: Homecoming rises to the occasion with aplomb, bolstered by a damn good performance from Tom Holland—though the franchise and character comes with a hell of a lot of baggage and expectations, Homecoming meets all of them beautifully, smoothly introducing Spider-Man to a new generation of moviegoers while simultaneously setting itself apart enough to appease older fans wary of another rehash. It’s a Marvel movie comfortable enough in its own Marvel-y skin (and free enough of behind-the-scenes drama) to tinker with the formula a bit, and the result is a joyous romp through adolescence with the added bonus of superpowers. What’s not to love?
Groundwork and stray observations:Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:
The “8 Years Later” title card at the beginning of the movie caused a lot of head-scratching when it first came out. Adrian Toomes was cleaning up after the events of The Avengers, which was in 2012, and so eight years later would mean Homecoming takes place in 2020, which makes zero sense as it’s supposed to pick up right after Civil War, which came out in and was set in 2016. It was only years later that this wasrectified (sort of), and even then… why don’t you just retroactively change the title card to “4 Years Later”? Is it that hard? How did this happen when you have so much money? I could have fixed it, if only Kevin Feige would hire me! I am available, Kevin!
The principal of Peter’s high school, Principal Morita, is the grandson of Howling Commando Jim Morita from Captain America: The First Avenger, whose picture is on the wall in the principal’s office; both are played by Kenneth Choi.
A painting of Howard Stark (the John Slattery version, not Dominic Cooper) is seen in a mural at Peter’s high school, and a picture of Mark Ruffalo’s Bruce Banner hangs in his science classroom.
The guy (Zach Cherry) who yells at Spider-Man to “do a flip” appears in Shang-Chi during the bus fight and busies himself with livestreaming the fight around him.
Aaron Davis is known as the villain Prowler in the comics and is the uncle of future Spider-Man, Miles Morales. (Donald Glover’s appearance is likely a nod to his campaign to become Spider-Man in The Amazing Spider-Man and his voice role as Morales in the animated Ultimate Spider-Man TV series. Here’s hoping the MCU Spider-Man movies bring him back and don’t let Donald Glover go to waste.)
Jennifer Connelly voices Karen, Peter’s “Suit Lady,” and is married to Paul Bettany, who of course got his MCU start by voicing J.A.R.V.I.S., Tony Stark’s “Suit Man.”
Martin Starr plays Peter’s teacher Mr. Harrington, who apparently went to Culver University in The Incredible Hulk. (This is definitely just one of those coincidences that the Marvel heads just kind of rolled with and said that Starr’s character in The Incredible Hulk was just a young Mr. Harrington, just like how Marvel said that of course that kid in Iron Man 2 was Peter Parker all along. Sure, why not?)
Michael Mando’s Mac Gargan, known as Scorpion in the comics, has a rather sinister (ha ha ha) post-credits scene, but nothing’s come of that (yet).
Angourie Rice plays Betty Brant, though I don’t believe Betty’s name is ever said in the movie, but she’s important in the comics.
My friend Hannah is clearly visible as an extra in the gym and homecoming scenes. She probably won’t ever read this and will never know I name-dropped her, but I did.
Anna’s Favorite Scene: I’m cheating and saying three: the Tony and Peter confrontation after the Staten Island Ferry incident (“Oh my god, it’s Robert Downey Jr.!”), Vulture driving Peter to Homecoming, and the “Come on, Spider-Man” scene.