While an argument could be made that follow-ups featuring ‘the son of’ or ‘the return of’ any central property – i.e. Son Of Kong, The Return Of The Invisible Man, etc. – didn’t work so hard, I think storytellers did for a time try to bring something fresh and/or original to sequels and prequels. For example, the Godfather Saga grew exponentially between Parts 1 and 2 – 3, not so much – and audiences were rewarded with new characters and new circumstances for sticking with the franchise. The Star Wars films – Chapters 1 through 6 – organically took viewers both into the parallel tracks of family and politics, expanding the parameters with each outing in ways that strengthened the journey’s core ideas. Heck, even the Jurassic Park and Jurassic World iterations tweaked what we knew about their movie science and expended screen time minimally in amping up the threats, making each successive thrill ride a respectable variation on the original formula. This isn’t to say that these sequels were good; rather, it’s only indicating that there was a recognizable attempt at trying something brand new if even to a small degree.
Alas, the Ghostbusters Saga hasn’t quite been on the receiving end of what I’d say is great mythmaking. It’s a franchise that’s always been a bit more about moxie and attitude – nerdy scientists taking on the occult with plenty of good-hearted laughs thrown in – where things like logic, special effects, and narrative cohesiveness are important but not as meaningful as how the quirky cast of characters deal with them. And that isn’t a bad thing, honestly. When these screen people are as intoxicating and inviting as Dr. Peter Venkman, Dr. Ray Stantz, and others, then you go with what works; and comic charm along with excellent timing sells the sizzle when acceptable imagery doesn’t. Still, at some point, one would hope that the powers that be would recognize a property needs to evolve in ways more than adding new clowns to the mix … but Ghostbusters: Frozen Empire (2024) kinda/sorta lazily unspools to remind you that creativity is dead in Hollywood, and the best fans might hope for – at this point – is nostalgia-fueled ‘memberberries.’
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
“When the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second ice age.”
As I get older, I think I’ve grown to enjoy franchises less and less.
What these wizened old eyes see is that stories just don’t work all that hard anymore, especially those that are part of an ongoing entity. It isn’t so much intellectual laziness I see creeping in so much as it is corporate greed: we’ve already built it, so let’s just serve up more of the same because it worked last time, meaning it’ll work again if we can separate the same fools from their monies like we did last time. JJ Abrams – as the worst example possible – quite figuratively defecated all over both Star Trek and Star Wars audiences, never once trying to concoct anything worthy of being called a franchise entry and, instead, delivering hokum that many suggest would be better off left to fan fiction attempts. Who am I to argue with such winning cynicism?
I will, however, stop a bit short of declaring everything in Ghostbusters: Frozen Empire a failure.
Mind you: it isn’t a great film.
In fact, it’s reasonably entertaining here and there, the kind of forgettable fluff one shouldn’t watch too closely. Let it unfurl. Watch it twist and turn, forcing a bit of comic cringe into the discourse. A few of the surviving principal players – Bill Murray, Dan Aykroyd, Ernie Hudson, William Atherton, and the delightful Annie Potts – show up more so to remind you that they’re still around more than they have any authentic reason to be in this in the first place, but that’s an easily forgivable sin. The setting is transported from rural America back into the familiar confines of the Ghostbusters fire station; and – to a small degree – it feels like we’ve come back home. Yes, Frozen Empire is chocked full of memberberries – some work, some don’t – but it’s also curiously light on the same level of heart that elevated 2021’s Afterlife with an emotional core.
Essentially, young Phoebe Spengler (Mckenna Grace) is back in action as the lead ‘buster in this film, but as her ‘busting takes place well within the confines of New York City she’s suddenly the source of great controversy. Mayor Peck (Atherton) points out that not only is what she is doing dangerous but also she’s a child; and – labor laws being what they are – he demands she be benched if the Spengler family insists on doing commercial business in the Big Apple. Begrudgingly, mother Callie (Carrie Coon) and stepfather Gary (Paul Rudd) concur, and Phoebe is stripped of her uniform and proton pack, giving her time to experience what life as a normal teenager is.
So, yes, it’s always easy to accept some small amount of predictability so long as the script is well-intentioned and equally well delivered. Frozen Empire works best when it’s in young Grace’s hands: she’s developed into a solid talent in this spooky universe – likeable, knowledgeable, and impressionable ain’t an easy combination, but she makes it look effortless – and the script by Gil Kenan and Jason Reitman should’ve respected that and given her a bit more to do. Some of their best quips and observations are handed off to the familiar faces around her, including a few that came over from Afterlife, and – sorry – they’re just not as appealing. Another draft – one that focused a bit more on Phoebe’s ascent to picking up the mantle raised by her departed grandfather Egan Spengler (the late Harold Ramis) – might’ve raised her up front-and-center properly instead of leaving her journey feeling so much like it was tacked on in order to give her something to do. It isn’t so much a creative miss as it feels like a miscalculation here, but that’s just my own two cents on that front.
Instead, Frozen Empire gives an inordinate amount of screen time to introducing the character of Nadeem (Kumail Nanjiani), a “talent” who never quite finds the comic rhythm necessary to be part and parcel of the Ghostbusters galaxy. While I mean no disrespect, I’ll concede I’ve yet to see the actor effective in any role he’s been cast. He certainly gravitates toward comic relief; and, yet, he displays no adequate sense of timing here much less the purpose needed to fulfill his secret life’s mission. In fact, he almost uncomfortably gropes and lurches his way through lines that might’ve been delivered with greater effect by someone else; and Nanjiani winds up feeling more like an anchor holding scenes in place instead of advancing the ideas albeit with uncharacteristic wit. Sometimes, there’s just no easy way to say it other than to point out his casting was a mistake.
Furthermore, the film suffers to an appreciable degree by incorporating a villain entirely the product of special effects.
Ghostbusters: Frozen Empire (2024) was produced by Columbia Pictures, Ghostcorps, TSG Entertainment, BRON Studios, and Right Of Way Films. (A full accounting of all partners can be found on IMDB.com.) The film is presently available for digital and/or physical purchase from a variety of platforms and ventures. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish, pretty much the way one would expect from the Ghostbusters franchise. As for the special features? Given the fact that I viewed this one via streaming, there were no special features under consideration.
Recommended.
Seriously, about the best thing that I can say in defense of Ghostbusters: Frozen Empire (2024) is that it not only feels like it exists in the same universe as the original but also does so in a way that it won’t offend the delicate sensibilities of modern moviegoers. It’s more of the same – some familiar faces, some dubious effects, and suitable wrap-up to a rather unengaging affair, putting it on par with Ghostbusters 2 (1989) and Ghostbusters: Afterlife (2021) – and it goes down as a suitable distraction so long as there’s nothing else more interesting on television or playing on the next screen. But when a property begins poking fun at itself so openly as this one does, would it be too much to ask that we reward the audience for showing up next time? Give them something worth the effort? No sense of impending catastrophe left this one kinda/sorta empty in the last reel, and I think viewers deserve a bit more.
In the interests of fairness, I’m pleased to disclose that I’m beholden to no one for this review of Ghostbusters: Frozen Empire (2024) as I viewed the release via my very own Netflix subscription.
-- EZ