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Ghostbusters Review (2016) | Easter Eggs Galore But Falls Flat

A tribute to the original. Funny at times but falls flat big time. Anything about Ghostbusters and it takes us back in time. The Ivan Reitman project was hands down colossal. You watch it even in this era and it still manages to leave its impression on you. Paul Feig’s Ghostbusters comes nowhere close to bringing that old anxious charm of the original. It is funny alright, but there is nothing that could bring it close let alone surpass the levels of Reitman’s work.


Ghostbusters skims on the surface of the original, so there is nothing extraordinary that the movie has to offer, except for glimpses, characters and ghosts from the past that fill you up with nostalgia. There are plenty of elements from the 1984 gang strewn all across the movie. You might go, “Ah! There he is!” or “Oooh! Oooh! That’s from the old one!”

Clinging to the original fun theme of the movie, that neither goes too dark or stays too aloof from it, Ghostbusters manages to walk well on what it was proposed to canter on. However, there isn’t an element of surprise lurking anywhere here. The world Paul Feig creates is unaffected by ghosts, the multitude of dumbness, who stay unfazed by the lives of any ghostbuster, unaware of what’s going on. They seem to come in as they please, react when it seems fit to them.

Feig’s direction goes to awkward enclaves when he constantly keeps chopping off frames quickly moving on from one scene to another without caring enough for the audience to take it in. You can witness the shoddy editing go strangely awry at so many points that it creates a portal of disconnect.


Still of Chris Hemsworth as Kevin in Ghostbusters movie

Chris Hemsworth as Kevin is probably the funniest thing in Ghostbusters. The only notable and memorable element that you might want to talk about in the long run, owing to the levels of dumbness he is shown scaling. Kristen Wiig’s Erin Gilbert has an instant apparent crush on him and she aces it with her superb comic timing.

Kate McKinnon builds up a strange character Jillian Holtzmann which is oddly satisfying. She does most of the work for the team. She has this eccentric cool style that will make you love her instantly.


There are plenty of cameos to watch out for. First of all, all those major characters from the 1984 movie pop up every now and then at odd hours namely: Bill Murray, Dan Aykroyd and Ernie Hudson. Not to forget Annie Potts who reprises her role as the desk receptionist here as well. Ozzy Osbourne shows up at one point too which was a pleasant surprise. Slimer the green ghost gets to drive the Ecto 1. It was good to see him revived after so long.

still of slimer in ghostbusters movie 2016

The ugly part of it all was that their inclusion seemed oddly forced. There was no subtlety to it. No jokes flew when they were there and that makes it look utterly fabricated. Camera zooms in at a lot of places to deliberately show a past reference. Easter Eggs are like lying in front of the camera for 2 minutes for you to notice.


If you divide the movie in subsections, you will realize that the movie does fairly well in the first half. In the later half Ghostbusters’ humour simply drops dead. If you focus on how it manages to bring back every character from the past, you will have nothing less than goosebumps on your body. Humour comes naturally with the inclusion of Melissa McCarthy and Kristen Wiig. But if you look at it as a complete movie, sadly it fails to dilate your eyes.

Check out the trailer of Ghostbusters movie:

The Babadook Review (2014) | A beautiful metaphor | Stunning Direction

The Babadook isn’t exactly a horror movie. It is more of a mere reflection of it. Jennifer Kent’s movie depicts a character’s madding affair with grief through leaflets of terror. And it does in a way you have never come across before.

Yes, it is avant garde at its best!


If you have seen The Babadook recently and not scratching your head, you have only seen the superficial. What surrounds beautifully the obvious horror is actually far more intricate. It is really worth applauding the effort Jennifer Kent put in to hold something so profound, so gorgeously wrapped under the aegis of psychotic horror.

Essie Davis dons Amelia’s character so marvelously that it makes you feel the pain inside her eyes. You could read the grief in her character almost instantly.

Still of Essie Davis as Amelia in the Babadook a grieving mother

I have moved on. I don’t mention him. I don’t talk about him.


The opening scene finds an accident. It is portrayed in a spectacular fashion, by showing the protagonist rotating inside a car. It was more like a thing in the past that prologue carried. Clearly she had been in an accident.

Amelia is then disturbed by the constant yammering of her six year old son Samuel. It is a peaceful dream of the mishap which Amelia wishes to see unperturbed, however gets objected by her son. It is like a reflection of chaos knocking at her door in the form of her son.

She hates him to the guts, and it is quite evident by the way she tries to ignore him. He was born the day her husband had died, the same wretched day of the accident.this again mentioned eventually when she admits that she wanted him dead instead of her husband. The hatred, nicely shown in two instances in the beginning itself when Samuel tries to cling on her, and she moves to the edge of the bed, and when he hugs her and she asks him not to do it again.

We spend a lot of time story building where we understand how Amelia’s life has succumbed to grief owing to the terrible misfortune. She is intertwined in her devastating misery.  And it is really sorry to see her that way. Essie Davis aces the grieving mother role to perfection.

still of the babadook ghost from the book


The direction of the movie is extremely subtle. Bits like the way the night would turn into the day, the moment Amelia would slip into her blankets, manifested how fast time flew by. Also, a nod to her life that always lacked proper sleep. It was iced further by the waking call from her son every single morning. You can easily tell it was killing her. She was annoyed by her son beyond limit. That’s what gives rise to her dark side. The dark side is none other than The Babadook himself, a figment of her child’s image that becomes real in her head. It is a subtly put metaphor to depict her dark image.

There are many clever references that hone the aforementioned analogy to perfection too. For instance there is a scene where Amelia finds a piece of glass in her food. Samuel says it was The Babadook who did it. She checks his bowl but doesn’t find any. The glass is an apt wink to her car accident, where glasses were shattered. It also insinuates how she would always clung on to those memories.

Another scene where Mrs. Roach shows up at her door with reassuring eyes compels Amelia to have a change of heart is also a reflection on how advices and social talks tend to be helpful for grieving people.

You can get the DVD of The Babadook movie here:


We find horror in the form of a made-up stories by Amelia’s kid which she inadvertently starts living. The rogue part in her constantly overpowers her and she ends up hurting what’s left. However, eventually she overcomes her fears and says no to her past, (mister Babadook here) and starts loving her son. She celebrates her son’s first birthday thus paving way for happiness and love therefrom.

The movie ends up in utter contrast with the beginning: a smile on her face and love in her eyes.

Only for people who are willing to watch quality cinema which doesn’t skim mainstream!

Here’s the trailer of The Babadook movie: