Blake Petit’s review published on Letterboxd:
Let's be honest here: reboots are hard.
Studios like them, of course, because they're counting on the audience carrying over and giving the refurbished IP the gas it needs to get to a new audience, one that maybe didn’t grow up with the original. The trick, then, is to create something that the original audience will support, but at the same time is satisfying to someone unfamiliar with the property. A lot of reboots fail at least one of these two essential tasks. And a lot of them, trying to do both, wind up pleasing no one.
Ghostbusters: Afterlife is the unicorn, that reboot that will have the old fans applaud and bring the next generation with them.
I won't talk much about the plot, except to say that it's set in the modern day, the events of the first two movies happened but are considered by many to be a hoax or an urban legend, and that it's about some kids uncovering a legacy they were entirely unaware of.
That said, the plot isn’t the thing that’s got me so in love with this movie. Oh, I enjoyed it immensely, don’t get me wrong, and I think it hits almost every beat without fail, crafting a story that is respectful to the movies of the 1980s without ever running the risk of locking out somebody who doesn’t know anything about the Ghostbusters except that their dad really likes to wear the costume on Halloween. The script is funny and creepy and full of energy, and it just plain works. But that is by no means the most important thing about this movie. The tone, the feel of the thing matters much, much more.
I’ve heard people calling it Ghostbusters by way of Stranger Things, which is fair, in that both this movie and Stranger Things draw from the 80s, Spielbergian, Amblin-esque concept of a world where children are brave, heroic figures instead of props to be held hostage or obstacles getting in their parents' way. This is the type of E.T., Goonies portrait of childhood where kids are willing to place themselves on the line and face dangers for adventure, for their loved ones, and for the greater good. McKenna Grace absolutely steals this movie as Phoebe, a 12-year-old socially awkward girl whose predilection towards science and logic has left her without much in the way of human contact beyond her older brother, Trevor and her mother. This is her movie, a movie about her finding herself, finding her history, finding her team, and doing so in an utterly triumphant way.
The characters are not a simple “Generation Xerox” from the original films either. It’s true that Phoebe has much of Egon’s intellect and adorkable nature, and that Podcast carries over a lot of Ray’s wide-eyed wonder and excitement, but that’s pretty much where the similarities end. These two, along with the other newbies, are allowed to grow and develop into their own people instead of just being “The New Peter” or “The New Winston.” You learn about each of them, you feel for each of them, and chances are at some point in your life you’ve been at least one of them. (I was Trevor in high school. And college. And most of my 20s, if we’re being entirely honest here.)
Fans of the original Ghostbusters know that no future incarnation of the franchise will ever be like the first two films again. It can’t be, not since Harold Ramis passed away in 2014. So instead, Jason Reitman took his father’s most famous work and used it as a foundation for a new Ghostbusters, a new world that I am so happy and eager to explore. But at the same time, this is a movie I want to watch with my 11-year-old niece, who has never seen the first two movies but wants to be a scientist, so she can see a girl just one year older than her utterly kicking ass. And with her seven-year-old brother, who just loves monsters and the Ghostbusters.
Too many reboots think about one of two audiences, the old or the new, and try to just leave a back door open for the other. Afterlife is wide open, inviting in everyone, having something for everyone, and reminding us just how good bustin’ can make us feel.
Review shared from BlakeMPetit.com