More an expose on toxic work environments than anything overtly political, Bombshell is an effective true-life drama about the many pitfalls, humiliations, traps, harassment, and compromises that women face in the workforce. We follow the downfall of news magnate Roger Ailes (John Lithgow), the imposing man who built the Fox News empire and who also bullied his employees and solicited sexual favors from the many women who were on his payroll. Margot Robbie plays an invented character meant to provide that entry point into Ailes the creep in creepy action. She’ll be harassed and pressured for sex by a man described as “Jabba the Hut,” and Robbie is terrific in her big dramatic moments portraying what the pressure and shame does for her ambitious anchor. The other two main characters wrestle with how far to go in a corporate culture of keeping secrets from very powerful, very dirty old men. Gretchen Carlson (Nicole Kidman) is consulting lawyers for a personal harassment lawsuit against Ailes the person, not Fox News, but she needs other women to come forward. Megyn Kelly (Charlize Theron) is struggling with the scrutiny she has endured after then-presidential candidate Donald Trump turns his small Twitter thumbs against her. The Fox bigwigs won’t go on record to defend her, and their journalists, because they need Trump to drive ratings. The movie uses several Big Short-style narrative tricks to help tell its sordid tale, including swapping narration and fourth-wall breaks; a run through of hearing from Ailes’ past victims in their own words is striking, especially a woman who says she was only 16 at the time. Part of the fun are the many many cameos and just watching actors portray different Fox News personalities (Richard Kind as Rudy Guiliani!). The makeup is also phenomenal and Theron looks unrecognizable as Kelly. The film itself doesn’t feel like it’s telling you anything you already don’t know about the subject; people will compromise their morals for personal gain, power leads to exploitation, women are unfairly treated, and it’s easier to fall in line than stand up to power. There’s still a thrill of watching the downfall of a serial abuser, and the acting is strong throughout, but Bombshell can’t shake the feeling of being a slicker, more star-studded TV movie version of recent history. Even with the urgency of the topic, it feels light, and not because of its use of incredulous humor. I could have used more behind-the-scenes details, and maybe that’s where Showtime’s miniseries The Loudest Voice comes in, retelling the same story with Russell Crowe as Ailes. It’s a solid movie on a very pertinent subject and worth seeing but it also makes me wish for a harder-hitting, more widely sourced expose on this very bad man who felt forever protected by the status quo of power.
Nate’s Grade: B
As the girl power counterpart to Very Bad Things, the rowdy comedy Rough Night follows a group of broadly characterized friends through a night of mishaps, but the strangest development is that the funniest moments all center around the men. Jess (Scarlett Johansson) and her gal pals (Jillian Bell, Kate McKinnon, Ilana Glazer, Zoe Kravitz) are celebrating her bachelorette party when they accidentally kill a stripper. From there the ladies have to try and dispose of the body while not getting caught. The movie is rather slow to get started, establishing broad character types for each of the bachelorette partiers. It’s once things get criminal that the movie enters more solid comedic ground. The acting ensemble is rife with terrific comedy stars that know how to hit their material in stride, in particular the boorish Bell and the goofy McKinnon. And yet it’s the asides with Jess’s fiancé Peter (Paul W. Downs, co-writer) where the movie hits its highest marks and delivers inspired comedy. At first the wild atmosphere of the girls’ night out is contrasted with the quaintly tame boy’s night out. Soon after Peter is worried something troubling has happened and is determined to travel nonstop to reach Jess. His traveling moments produce the most unexpected comedy, like a badass montage about something very uncharacteristically badass. It just kept going, trying to maintain the same demeanor, and I was almost in tears from laughing so hard. There’s a sequence at a gas station that could be taught in comedy classes for how well structured and developed it plays out, tying together characters and conflicts and even ending on a sweetly jocular moment. It got to the point where I wanted to check back more often with Peter. I chuckled throughout Rough Night and the energy level of the actors keeps things eminently watchable but it plays it too safe for something so apparently transgressive. The sentimental moments don’t feel earned and the dark comedy doesn’t feel dark enough. Still, when it gets to be weird and unpredictable, Rough Night can be a delight.
Nate’s Grade: B
Growing up in the 80s, other kids had Transformers, or G.I. Joe, or He-Man, but I was a Ghostbusters kid. I fell in love with the 1984 original movie, slept below the poster for most of my childhood, and obsessively collected all of the action figures, watched with glee the animated TV series, and hold the world and its characters in a special personal place. The 1984 movie is such a perfect blend of buddy comedy, the supernatural, and action that nobody has really been able to fully replicate this special film alchemy as well since, including director Ivan Reitman (he tried in vain with Evolution). When the word broke that there was going to be a new Ghostbusters remake, some trepidation from fans could be expected. It’s sacred ground to many. Director Paul Feig (Bridesmaids) insisted that he wanted to have an all-female team of Ghostbusters, and that’s when the Internet lost its collective mind. The movie and its stars have been beset with hateful misogynistic (and, in the case of Leslie Jones, racist) harassment. The Internet didn’t want smelly girls playing with its toys. It became part of a larger war between feminists and retrograde men’s rights activist crybabies. Some people wanted it to be succeed just because of he gender of its leads, and others wanted it to fail for the very reasons. I just wanted a good Ghostbusters movie regardless of what bathroom the busters utilize.
Erin (Kristen Wiig) is an esteemed science academic trying to turn the page on her past. Her friend and fringe scientist Abby (Melissa McCarthy) has republished the book about paranormal they wrote together, which ruins Erin’s chance at tenure from her colleagues. Her ire is short-lived as Erin, Abby and her wacky nuclear scientist associate Jillian Holtzmann (Kate McKinnon) experience a real dead ghost. Their slime-filled encounter with the undead reawakens Erin’s love of the paranormal and the three of them join forces. Patti (Jones) is an MTA worker who leaves her job and joins the gals after her own experience with a ghost in the New York subway. Somebody is trying to open a portal between the living and the dead, and these Ghostbusters gotta bust some ghosts.
My initial apprehension melted away within the movie’s first twenty seconds when it already had me laugh out loud twice (“anti-Irish fence”). There’s a consistent genial absurdity that kept me engaged and entertained, and this is typified by the strong comic camaraderie of the four leads. I enjoyed spending time with these ladies and I enjoyed their interactions, so when scenes could creep up on overstaying their welcome from a pacing standpoint, something of a Feig staple, I gave them more leeway and felt my patience rewarded. I don’t know how to make it plainer than this: I am not a Leslie Jones fan and I liked Leslie Jones in this movie. I have found Jones to be all-too often on Saturday Night Live a one-note comic presence, always loud and brash and hitting the same joke again and again with little variation. With Ghostbusters, she actually plays a character, capable in her own right, and a straight man for the other characters. These women were goofy, gross (a queef joke within Holtzmann’s first appearance), but they also enjoyed one another’s company. There are internal conflicts, sure, but their enjoyment of working together, of displaying their know-how, of the joys of discovering the realm of the paranormal create a bond that helps seal the characters with the audience. Whatever the scenario, I was confident I would laugh from these characters, and I did.
There is a lightness to the movie that makes it all the more appealing, settling into pleasurable summer fare. This story is as much about the formation of the Ghostbusters as anything else. In the original film they just sort of have their ghost-busting gear all of a sudden. With the remake we watch the trial and error process of bringing all that tech to life. It’s a fun process to see their business from the ground floor, so to speak, and their fight for larger credibility. Murray himself even shows up as a paranormal debunker who scoffs at their claims. The ladies are the lovable underdogs in this world.
The real reason that Feig’s movies work is the interaction of his boisterous and often brilliant casts, and Ghostbusters is another example. Wiig and McCarthy have a natural chemistry together honed from Bridesmaids, and their back-and-forth banter will often find punch lines in odd places. McCarthy has always been her best under Feig’s direction (seriously go watch Spy if you haven’t). While Abby is a less outspoken character than we’re accustomed to from her, McCarthy still has a commanding presence and is the one who lassos the other funny characters back into a sustainable orbit (“You spell ‘science’ with a Y, and I don’t think you know that that’s wrong”). I’ve stated above my positive feelings on Jones. She brings a welcomed perspective to the team and often serves as the voice of the audience, like a moment where she looks inside a room filled with mannequins, calls it “nightmare stuff,” and wisely keeps walking. McKinnon is the true breakout star, going for broke in a deadpan, anarchic silliness that is Murray-esque. She also displays a funky, near pansexual sense of excitement with the world around her. She licks the radioactive barrels of her proton pack in jubilation. McKinnon is a constant source of mirth in the movie and has some of the best one-liners (“It’s 2040. Our president is a plant!”). Another breakout might be Chris Hemsworth in comedy. His dimwitted and inept receptionist is perhaps too dumb to even function. Hemsworth just commits to his character’s straight-faced stupidity and it produces big laughs.
Not everything in the movie works as well together as the ensemble. The movie’s tone takes a giant leap once the third act commences with its apocalyptic ghost showdowns. You can sense that Feig isn’t nearly as passionate about action heroics and CGI. Example: the movie sets up a large-scale dance sequence and we never see it until the scene appears during the end credits. That seems like a waste. The character arc between Abby and Erin isn’t quite as developed as the movie needs for the emotional re-connection at the very end to hit. As much as I loved McKinnon in the movie, her character is more a collection of quirks than a person. The cameos from the original cast are mostly awful and kill amusement. Watching Dan Akroyd as a cab driver say he “ain’t afraid of no ghosts” made me roll my eyes and wish I could delete this from my memory. The less obvious nods are better fan service, like a character referencing “mass hysteria” or Erin frantically pressing her body against a restaurant’s large glass window. The Stay Puft marshmallow man as a parade float is a nice touch, though. The main villain is feeble but I can see how a dude with a grievous sense of entitlement could itself be a feminist statement on the hostility that women face in today’s world. There are some logical consistency issues when the busters go from trapping ghosts to shooting them and blowing them up, but it wasn’t enough to derail my sense of fun. The worst thing about this Ghostbusters is the new theme song from Fall Out Boy and Missy Elliot.
Is the new Ghostbusters a significant step in terms of feminism or is it overblown as some critics contend? The topic is unavoidable given the spirited furor over this remake; it has the most disliked trailer in YouTube history, though to be fair that was not a good trailer. First I’ll acknowledge that the world doesn’t need the opinion of a heterosexual white male on the topic of inclusion, but I’d like to say that there is something about positive representation. It’s the same reason I approve of Sulu being gay in the newest Star Trek. It’s not for me to say what is and is not empowering for a group of people who often lack positive representation in media. Nor am I arguing that every representation of a group needs to be positive; that swings in a direction where well intentioned “protection” becomes condescending. People can be good. People can be bad. People can be brilliant. People can be dumb. No one pool of DNA has ownership over these human traits. However, the reality of Hollywood is that it is often a poor representation of diversity. It is because of this that I say Ghostbusters deserves some praise for portraying a plot around four women that doesn’t involve boyfriends, weddings, marriages, pregnancies, any sort of romantic coupling, and doesn’t pit them against one another. This is an action movie with a female ensemble, three of whom are in their 40s, and all of whom don’t exactly fit with Hollywood’s standard conception of the attractive female lead. They don’t dress provocatively for the male gaze (the default setting for “strong heroine” in Hollywood is often “sexy deadly”). They don’t make fun of one another’s body types. They stand up for one another when people in power attack. They love what they do. I think there will be a swath of the public that recognizes themselves on screen, maybe for the first time, and I think there is genuine merit to this.
Somewhere amidst all the hype and hate, the new Ghostbusters emerges as a pleasant and enjoyably silly summer comedy. Feig’s movie pays homage to the original, including borrowing many of the general plot beats Force Awakens-style, but steps out onto its own territory. The 2016 Ghostbusters is not slavish to the original but recreates what made it work, a strong core group that meets the experimental and outlandish with droll irony. I think I laughed more with the 2016 Ghostbusters than the 1984 Ghostbusters. It has some flaws and some pacing issues but I was enjoying these characters so much to mind. As a lifelong Ghostbusters fan, I would gladly watch a sequel with these characters and this world once more. This won’t replace the fond feelings I have for the original, nor was it ever supposed to. This all-female Ghostbusters doesn’t take away what fans have loved. It simply adds another chapter with a new batch of entertaining characters, and if a part of the audience can better imagine themselves strapping on the proton packs and going along for the ride, then I don’t see what the harm lies with representation.
Nate’s Grade: B