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Title : Ghostbusters: Afterlife
Rating: PG-13 (Supernatural Action|Some Suggestive References)
Genre: Comedy, Fantasy, Adventure
Original Language: English
Director: Jason Reitman
Producer: Ivan Reitman
Writer: Gil Kenan, Jason Reitman
Release Date (Theaters): Nov 19, 2021 Wide
Runtime: 2h 4m
Distributor: Columbia Pictures
Sound Mix: Dolby Atmos
Aspect Ratio: Scope (2.35:1)
View the collection: Ghostbusters
When a single mom and her two kids arrive in a small town, they begin to discover their connection to the original Ghostbusters and the secret legacy their grandfather left behind.
Ghostbusters: Afterlife is a 2021 American supernatural comedy film directed by Jason Reitman, who co-wrote the screenplay with Gil Kenan. The film stars Carrie **bleep**, Finn Wolfhard, Mckenna Grace and Paul Rudd, while Bill Murray, Dan Aykroyd, Ernie Hudson, Sigourney Weaver and Annie Potts reprise their roles from the original films. It is the sequel to Ghostbusters (1984) and Ghostbusters II (1989) (both directed by Reitman’s father Ivan, who serves as producer) and the fourth film overall in the Ghostbusters franchise. Set thirty years after the events of the second film, a single mother and her two children move to a small town in Oklahoma, where they discover their connection to the original Ghostbusters and their grandfather’s secret legacy.
After being evicted from their home, a single mother and her two children are forced to move to a decayed farmhouse in Summerville, Oklahoma, left to them by the children’s late grandfather, where a series of unexplained earthquakes are occurring despite not being situated on any fault and strange things are happening in an old mine which once belonged to the alleged occultist Ivo Shandor.
The children discover the history of their grandfather with the original Ghostbusters, who have since been largely forgotten by the world beyond their fan base.
When supernatural phenomena relating to New York City’s “Manhattan Crossrip of 1984” occur and threaten the world, the kids, along with their family and friends, must solve the decades-old mystery of the relocation of their grandfather and use the equipment of the Ghostbusters, and become their successors to save it
By 1999 following the release of Ghostbusters II, Dan Aykroyd wrote a script for a third film tentatively titled Ghostbusters III: Hellbent. The concept had the characters transported to an alternate universe version of Manhattan called Manhellton, where the people and places are “hellish” versions of Earth, with the Ghostbusters meeting and confronting the devil. At the time, Aykroyd stated that the studio was interested, though the principal actors (especially Bill Murray) were not. It featured a new, younger group of Ghostbusters, while Ray, Egon, and Winston struggle to keep the business going upon Peter’s relationship becoming serious with Dana.
By 2004, movement on a sequel was revisited by the studio, though Bill Murray again expressed his disinterest in the project, stating that he dislikes sequels. The following year, Ramis confirmed plans to introduce Ben Stiller into the principal cast. By 2009, however development of the project had stalled. By January 2010, Ivan Reitman confirmed that he would be directing the film. In March, Murray discussed development of the film, and his mixed feelings about reprising his role. A release was scheduled for Christmas 2012. In the October issue of Vanity Fair, Aykroyd commented on the screenplay written by Gene Stupnitsky and Lee Eisenberg, stating that he was particularly impressed with how Murray’s character had been written, and the implementation of the new team with the original team, while he and Ramis would work on a second draft of the script.
By August 2011, Aykroyd stated that the plan was for filming to begin later that year, with the story of the mantle being assumed by the younger generation. Later, when Murray decided to pass on reprising the starring role of Peter Venkman, Aykroyd announced the possibility that another actor might replace him. Aykroyd also mentioned that he wanted Moranis to return as Louis Tully. By February 2012, the film was placed on hold as the production team reevaluated the project. Without Murray, the studio searched for replacement actors and considered featuring his character as a CGI-rendered ghost. In June, Murray again acknowledged that all involved were attempting to develop the third film once more before dropping out of the film the following month. In July, Aykroyd confirmed that the film was back in development, with a script re-write from Etan Cohen. Aykroyd said of the script that “It’s got to be perfect. That’s the whole thing. There’s no point in doing it unless it’s perfect. So that’s what we’re up to now.” By September 2012, Reitman announced the developments of a remake. In May 2013, Aykroyd discussed plot points including real-life experiments being done by college students at Columbia University being source for inspiration. The plot would revolve around research being done by the university, which would bring about threats from other dimensions with a new team of Ghostbusters forming to save Earth’s plane of existence from supernatural threats. The script reportedly wrote Murray’s character in, with hopes that the actor would decide to join the production.
After the death of Harold Ramis on February 24, 2014, Sony Pictures stated that Ramis would appear in the film through use of a cameo. With the script needing to be reworked following Ramis’ passing, the project was delayed once again. By March 2015, it was confirmed that Reitman would not be directing the third film, but would remain as producer with plans to begin principal photography by early 2015. Sigourney Weaver later revealed that her character’s son will feature as a member of the team.
On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 77% based on 39 reviews, with an average rating of 7.20/10. The site’s critics’ consensus reads: “Ghostbusters: Afterlife crosses the streams between franchise revival and exercise in nostalgia — and this time around, the bustin’ mostly feels good.” On Metacritic, the film has a weighted average score of 61 out of 100 based on 14 critics, indicating “generally favorable reviews”.
Sheri Linden of The Hollywood Reporter described the film’s cast as “engaging” and “the comic beats down”, and added: “they also play more fully fleshed people than the first film offered, reflecting the director’s interest in character-driven stories.” She also noted some similarities the film had with Stranger Things, The Wizard of Oz and Close Encounters of the Third Kind. Olly Richards of Empire gave the film a score of 4 out of 5 stars, describing it as being “thoroughly lovely” and concluding that it “firmly establishes its own new generation” while being “full of love for the originals”. Peter Debruge of Variety described the film as an “unnecessary but enjoyable movie”, and added: “The good news for Ghostbusters fans is that Afterlife does nothing to tarnish what has come before”. William Bibbiani of TheWrap wrote that “fans of the original — especially the ones who love finding Easter eggs — will probably be satisfied”, but added: “Those who enjoyed the 1984 film and who actually wanted a new installment of Ghostbusters to offer something different … may be disappointed, but they can probably settle for Afterlife’s slick and straightforward, formulaic craftsmanship.” Scott Mendelson of Forbes gave the film a score of 6 out of 10, describing it as a “charming and witty kid-centric coming-of-age fantasy”, but criticized its reliance on “pandering” nostalgic fanservice.
Christian Holub of Entertainment Weekly was more critical in his review of the film, giving it a grade of C+ and describing it as “a stark reminder of how much of modern American culture consists of excavating the ruins of past glories.”Jesse Hassenger of The A.V. Club gave the film a grade of C, writing that it “wants desperately to summon the spirit of watching the first movie back in 1984. It winds up ghoulish in the wrong way.” Courtney Howard of IndieWire also gave the film a C grade, writing: “Yet with all the nostalgia packed into the picture, its own refurbished identity is slightly compromised, functioning as a mimeograph of what came before it.”Charles Bramesko of The Guardian gave the film a score of 1 out of 5 stars, writing: “Here, we can find a damning summary of modern Hollywood’s default mode – a nostalgia object, drained of personality and fitted into a dully palatable mold, custom-made for a fandom that worships everything and respects nothing.”
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❍❍❍ TV MOVIE ❍❍❍
The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “”Mr Television”” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets.
The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.
❍❍❍ Formats and Genres ❍❍❍
See also: List of genres § Film and television formats and genres
Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.
A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure, while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intendevd five-season run.
In 2012, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 2012, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “”I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.
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