The fact that I even know about this issue is both my reward and punishment for being a popular culture junkie.
To bring you up to date: Since the stars of the classic movie comedy “Ghostbusters” are now collecting Social Security (and one of them—Harold Ramis— is dead), Hollywood’s only sensible option to try to squeeze some more profit out of the property (and maybe introduce it to a new generation) was to remake the 1984 film. This was a risky enterprise, for even the sequel with the original cast more or less recognizable was a disappointment, and remakes of classics are inherently dicey. If an original film really was special and the stars truly stars, forcing younger contemporary stars to step into iconic shoes is asking for not just trouble, but humiliation. Poor Alex Cord, for example, never recovered from being cast as The Ringo Kid in a misbegotten remake of 1939’s “Stagecoach,” where he was supposed to replace John Wayne. It can work, as with Jeff Bridges’ turn as Rooster Cogburn, not only a Wayne role but the one that got him an Oscar, only if the remake is sufficiently excellent and different enough in tone and purpose that the original and the remake can co-exist without compelling unflattering comparisons. (“True Grit I” is a funny John Wayne valedictory with a great story; “True Grit 2” is more faithful adaptation by the Coen Brothers of a wonderful novel. I still like the original better.)
The best option, though, is often to make the reboot different in appearance and feel by switching race or gender. This is also helpful when everyone over the age of 13 has seen the original on TV about ten times already. The scheme attracts a new audience, ideally—the first “Ghostbusters” had a male teen demographic—and allows the remake to refer to the first version without seeming like pale copy. Almost never are the non-traditional casting versions big hits, but they can be quietly profitable. “Ghostbusters,” moreover, is a merchandising machine. The original spawned cartoon versions and action figures. Why wouldn’t the new movie?
However this is 2016 America, and everything is political as well as partisan. An all-female remake of “Ghostbusters” was launched with feminist swagger. The new version starring Melissa McCarthy (love her) , Kristen Wiig (great) and Kate McKinnon ( also great), excellent comic actresses, given good material, would show that women can and do everything men can do—fight ghosts, make hilarious supernatural movies, be President of the United States. The July opening in an election year was no coincidence; it is part of the Hollywood effort to join the media’s efforts to make Hillary President despite, well, her lack of fitness to lead.
Although the usual naysayers when a classic is recast were immediately critical, most moviegoers were enthusiastic about the project. I know I was. Then the trailer came out. It is bad (you can watch it above). We are used to seeing great trailers for movies that turn out to be boring and horrible, but good movies with terrible trailers are rare because making previews has become a fine art.
The strikingly unfunny “Ghostbusters” trailer was especially ominous for a comedy. The usual method for hyping a mediocre comedy is to put all the funny bits in the trailer; I hate that, don’t you? Not only is the whole movie an unamusing slog with 6 minutes of laughs in 90 minutes of filler, but you’ve already seen the best gags. What does it say, though, when a trailer for an alleged comedy isn’t funny, and worse, the gags included don’t appear to be as side-splitting as the movie’s makers seem to think they are?
Oh-oh. Continue reading