Ghostbusters 3 (2020)
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127 posts in this topic

On 7/30/2021 at 10:26 PM, Larryw7 said:

These guys need a movie.

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I thought this was just a cartoon

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On 7/30/2021 at 10:56 PM, Larryw7 said:

Live action in the early seventies. I know Bob Burns, the guy in the ape suit.

I'm in Canada and in the late 80s there was a brit channel that started, can't remember what it was called and you could watch this version of Ghostbusters as a cartoon, along with Duckula and a few other Thames projects

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On 11/8/2021 at 10:13 PM, piper said:

Filmed in Southern Alberta.

Yep, it was cool to watch some of it in person.  I was in Drum Heller when they were filming some scenes, got to take some pics with the Ecto1. They stopped at the comic con that was going on at the time, we had a couple tables at. Really wild since no one was expecting it. :)

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Excerpt review from The Globe and Mail:

"Everyone would have saved a lot of time and money and frustration had Jason simply written his father a nice note (“Congrats, pop, on making such a fun movie. See you in the car!”) and then digitally nuked, proton-blast-style, all traces of Paul Feig’s 2016 Ghostbusters reboot. Instead, we have Afterlife. Which, for its first ghost-free first hour, promises a fine enough little family dramedy that apes Steven Spielberg’s peak Amblin era.

Once the film introduces its first big ghost moment – a Slimer-esque critter named Muncher, so called because, um, he munches on stuff – the film embraces its destiny as a sloppy serving of wan call-backs and eye-rolling fan service. And what is new – a kid called Podcast (Logan Kim), so called because, um, he likes podcasts – is uninspired to the point of cinematic malpractice. This is not a film delicately peppered with Easter Eggs – cute little references to be hunted down by obsessive fans in the margins. This is a movie that is one giant Easter Egg, cracked and rotten and sulphurous in its stink.

 

Unlike the 1984 and 1989 movies...Afterlife forgets to build the basics.

Characters don’t tell each other crucial information, the big set-pieces arrive too late, and there is no corporeal villain to root against (god, this film could use a dose of legendary 1980s big-screen jerk William Atherton; Jason, if you chose to bring nearly everything back from the first movie, why not EPA agent Walter Peck? I’d even take Peter MacNicol’s Vigo the Carpathian acolyte!).

The film is conceptually, artistically, spiritually empty. Somebody call a Ghostbuster. Because this thing is dead."

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