Milo’s review of Grrlbusters stands in stark contrast to McRapey’s.
I’d have loved nothing more than to give Ghostbusters a glowing review. Seriously! Can you imagine a better troll? Extolling the virtues of a film that my loyal readership has been warring with social justice warriors over for months?
But I can’t. You see, I strive to be honest with my audience. I went into Ghostbusters with a clear and impartial mindset, like some tall, slim, and devastatingly handsome statue of justice. (But no blindfold. It would be a crime to cover up these eyes.)
Ugh, I don’t know what to tell you. Ghostbusters is terrible. It’s more obvious than the reading on an EKG-meter in Zuul’s bedroom. The only frame of reference in which this movie functions is as a meta-movie, in which the Ghostbusters franchise is treated like a vampire in a Hammer Horror from the 60s. The beloved franchise from our childhood with a stake driven through its heart, head chopped off, body burned and buried at a crossroads.
The overarching problem with Ghostbusters is that the script is a greater abomination to God than any of the demons and ghosts in the franchise. I’m sure they could have done a worse job, but they’d have to study Tobin’s Spirit Guide to summon a script from an even deeper circle of Hell.
Mostly, it’s a lack of intelligence. In the original movie, the bad guys weren’t actually the ghosts — everybody loves Slimer and the Marshmallow Man. No, the bad guys were the clueless bureaucrats in the government, who set off a supernatural crisis through bumbling and red tape.
In this film, by contrast, the enemy is all men, while the government ends up playing dad. Every man in the movie is a combination of malevolent and moronic. The chick ‘busters shame the mayor so much they end up getting government funding at the end. Like all feminists, they can only survive by sucking on the teat of Big Government.
I’ll skip over the vacuous and incoherent plot. You won’t understand it watching the movie and you won’t understand it reading my summary so who cares. This, unlike any movie I’ve ever seen before, seems to have been conceived entirely out of spite, with the result that its plot is largely irrelevant.
Read the whole thing there. I leave it to you to determine whose review is more trustworthy.
The only reason that anyone cares about this movie is because it is a symbol; it is a battleground in the cultural war. As Milo correctly noted, the movie is a standard bearer for the cultural Left. The mere fact that the battle is being waged, and that the movie is being widely panned and ignored, is a very good sign for we Western Civilizationalists, because it means the SJWs and feminists are finally meeting overt opposition.