Watch it: Ghostbusters: Afterlife, coming Nov.
Franchise patriarchs Bill Murray (71), Dan Aykroyd (69) and Ernie Hudson (75) cheerily reprise their roles during the monster climax of this undead franchise pitched at old fans and their kids. The new arrivals discover that there’s life, love and spirit when the community unites to quell an ectoplasmic invasion and save humanity. It’s all gooey fun, with garrulous ghosts and anarchic mini Stay Puft marshmallow men. In this outing, original director Ivan Reitman (75) passes the funky fedora to son Jason ( Juno), who directed and cowrote a breezy script with percussive, jokey dialogue. Paul Rudd (52) is there to greet them as silly science teacher (and love interest) Mr. Single mom Callie (Carrie Coon) drags her kids - nerdy tween Phoebe (McKenna Grace) and antsy teen Trevor ( Stranger Things breakout star Finn Wolfhard) - to Oklahoma to obtain the dilapidated farm bequeathed by her father, Egon Spengler (the late Harold Ramis, who died at 69). This Ghostbusters for the Stranger Things generation is an action-packed afterlife for the 1984 comedy classic. 1 to theaters nationwide and to Netflixĭon’t Miss This: Are we in the midst of a renaissance of the Hollywood Western? Our critics think so: The best Westerns of the last 20 years, ranked Watch it: The Power of the Dog, in limited theatrical release now, coming Dec. Campion, who shockingly hasn’t made a feature since 2009’s Bright Star, crafts a compelling tale that connects viscerally with the audience and sticks its devastating landing. She triangulates their relationship, moving in with her effete son, Peter (a sensational Kodi Smit-McPhee), and threatening Phil’s fierce frontier facade. Unbidden, his secrets erupt when Phil’s temperate brother, George (rock-solid Jesse Plemons), weds the widow Rose Gordon (a fine Kirsten Dunst). Beneath his bullying hide, he’s repressed his authentic, vulnerable self. Phil, menacingly played by Benedict Cumberbatch, rangy of build and cunning of eye, is a charismatic and cutting alpha dog. The bachelor Burbank brothers have managed the family ranch for 25 years. Set at the volatile crossroads of horse culture and the horseless carriage in 1925, the story makes clear that change is in the air. Who’s really the big dog on the Montana prairie? That’s the sly question propelling director Jane Campion’s glorious, sweeping and intimate Oscar-bound Western. And the black-and-white cinematography is as good as Belfast’s.
Norman is one fine child actor, on par with Phoenix at his best. But go with its shagginess - it will warm you. Some will loathe the movie’s looseness, and the real-kid interview scenes make it like two movies. Their bond grows, as does Johnny, a bit like Hugh Grant in About a Boy but with infinite naturalism. He’s a whirlwind of cute-free, extreme eccentricity, and peppers him with questions - “Why aren’t you married?” and “Will I wind up like my dad?” - and scares him witless by wandering off in crowds.
So Jesse joins Johnny in New York and on the road. She’s got to tend to her bipolar husband (Scoot McNairy). sister (an excellent Gaby Hoffmann) asks him to look after her 8-year-old, Jesse (Woody Norman). Joaquin Phoenix is superb as Johnny, a charming, disheveled radio journalist who interviews (apparently actual) kids about how they see the future. 19 to theaters and HBO Max ĭon’t miss this: The 7 things Aunjanue Ellis suggests doing nowĪnd this: The best Will Smith movies (so far), rankedĪnd this!: The ultimate tennis lover’s movie watchlist Remarkably, Aunjanue Ellis (52) is even better in the smaller role of Richard’s wife, Oracene, who stands up to his iron will and coaches just as well. Smith conveys the bizarre drive that made his preposterous plan come true in a performance as impressive as anything he’s done, perhaps more, and entirely new. Will Smith (53) outdoes himself as their dad/coach Richard, who survived KKK thugs in youth, protects them from Compton thugs, vows they won’t always have to share a bedroom with three other extremely talented sisters in poverty and shamelessly promotes them to the rich, lily-white tennis establishment. They hit all the notes of a sport biopic with a satisfying thwack. In the real story of tennis immortals Venus and Serena Williams, the kids (Saniyya Sidney and Demi Singleton) are all right.
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