Ghostbusters – Blu Ray Review

gb-br“Ghostbusters”, as part of the lexicon, has always been that kind of concept that was just ripe for making but only comes along once. It was written (as Harold Ramis explained while I was at the Nantucket Film Festival) originally as a vehicle for Dan Aykroyd and John Belushi as another type of “Blues Brothers” film. Sadly that was not to be. Instead it became the conceptual milestone it is because of other players involved. Revisiting it now seems right because the technology is finally able to do what it needed to do back then. That said, in the new Blu Ray transfer, the progression especially the showdown with Gozer at the end looks exceptional. You can tell some of it is set but not much. And, to give props, as some of the filmmaking people involved do on the commentary, Elmer Bernstein’s score gives the film an added weight that most sometimes do not talk about.

In terms of story and performance, that all has been covered before and nit picked. I remember acting out the capturing of the ghost in the beginning when I was 10. Since then I have had a chance, either directly or indirectly to meet Aykroyd, Ramis, director Ivan Reitman and even the elusive Bill Murray. Like some of the story that Ramis related at Nantucket a couple months ago, the team come together when Aykroyd started shoppinmg around the script. Ivan and Ramis came in off Second City and had made “Stripes” with Bill Murray. The aspects of Ramis’ exceptional writing and confluence with structure balanced Aykroyd’s roving imagination.

Some other elements on the disc, like the Slimer Mode, gives an effective in-depth screen-within- screen capture of different set designs concept art, work well. Murray is not featured which has become a mainstay even for this film which should be one of his big successes. There is also the refitting of the original Ectomobile which when I saw it parked outside E3. I didn’t think it was the original but indeed it was. This refit shop rebuilt it from the ground up which is detailed on the disc. They used as much of the original materials as possible but souped it when it fit into the original design. This made sense for Sony as they were prepping this for release along with a video game (which we also review) in addition to a possible third Ghostbusters film.

Aykroyd had been pitching Sony on the aspect of doing a CG Ghostbusters since the technology was there. A young executive probably said “Why don’t we do a video game?” and then of course “Why not do a movie since all the prep work is already started?” It was simply a co-existence of general paths converging.

The aspects of the video game especially with Ramis and Aykroyd writing it give it a sense of style and consistency. The aspects and interaction obviously make it the best adaptation so far in terms of that kind of material as the small behind-the-scenes interviews suggest.

The “Ecto 1 Gallery” is an extension of the refit material which is fine but seems almost to be grasping at extras which aren’t necessarily there. The video game trailer bases a lot of its fuel on the personas of the original cast which come through in a way that couldn’t be captured live action as they have all gotten older.

The “Scene Cemetery” has some old bits in low resolution from the DVD release although the best moment is a little comic bit with Aykroyd and Murray with Bill  recreating his golf character from “Caddyshack” as a homeless guy on the edge of Central Park. This pair alone are great but not enough for a movie on its own…but still great fun.

The older material (some from the DVD and some from the Criterion laserdisc) are still interesting to watch. The original 1984 featurette shows the story angle that they building on especially with the comedy team. The special effects featurette made in 1999 for the original DVD release has Richard Edlund actually making reference to Dan Aykroyd’s original script which had the Stay Puft Marshmallow Man emerging from the East River which didn’t make much effects sense in terms of budget. Harold Ramis was instrumental in helping hone down the budget of Dan’s original idea to make it doable for 5 million dollars total budget instead of the original 40 million it might have cost.

The angle comparisons and storyboard comparisons seem to be lifted from the laserdisc but are still very interesting. The angle comparison uses some pencil sketches for the effects which are quite literally at times animation. The storyboard are pre-motion animatics but are interesting in many facets in terms that the actual representations within the structure are not the actors who are playing them. This is truly a movie made on set as the storyboards don’t give credence to the eventual blocking which is, at times, inspired.

In terms of the trailers on the disc, there is none for the original “Ghostbusters” which I sometimes miss. The one for Adam Sandler’s “Zohan” is pretty funny (and ironic) since it was originally discussed about him becoming a Ghostbuster along with Chris Farley and David Spade back in the 90s.

In conclusion, it is great seeing “Ghostbusters” on Blu Ray but overall the remaster doesn’t look a whole lot different than the DVD release in terms of popping more of the elements (which will eventually have to be done for a 3D home release). The extras have possibility but a lot are from previous releases (and the disc was obviously done to coincide with the PS3 release of the video game). While the game is exciting, this rush to pair it might have been rushed in the overall scheme. Despite this, the BR is still great to see and hear. Because of all of this, out of 5, I give it a 3.

The Ramis Effect & Other Intellectual Minglings: NFF 2009 – Bonus Feature


Nantucket is a getaway from the everyday, a peaceful haven. Within this forum, the beauty of simple thought gives way to intriguing discussions, simply because of the location. This year, at the 2009 Nantucket Film Festival, Harold Ramis, a honoree for his years of screenwriting expertise, shared his wisdom and handiwork across the board. From a comedy roundtable featuring Ben Stiller, a local boy done well, to a candid discussion of one of his greatest screenwriting successes: “Ghostbusters” to a showing of his brand new comedy “Year One”, Ramis has elicited his effect on Nantucket.

Creating a comedy roundtable is ironic itself sometimes because of the ideas being tossed back and forth and the sometimes paradoxical relectiveness that sets in. The essence of what comedy screenwriting can be is fleeting in retrospect since inspiration comes and goes so quickly. But when you get together such a massively successful panel of comedy mavens which includes Ben Stiller, Harold Ramis, Peter Farrelly and John Hamburg, it is quite interesting.

The big thing which motivates the fervor here in general in terms of the festival perspective is that Stiller is a hometown boy who grew up right here on this island (though he now lives in New York). He relates “The Ramis Effect” per se in that when he was in his teens he worked at The Sunken Ship downtown. His big influence during that time was “Caddyshack” which was written and directed by Ramis. Stiller says that he memorized all of Bill Murray’s monologues and repeated them to his co-workers, parents…anyone who would listen. As this was his childhood home, his parents including dad Jerry and his wife, actress Christine Taylor, were in the audience cheering him on. By sheer coincidence, “The Ramis Effect” had influenced the early development of one of Nantucket’s famous exports.


In terms of themes, one of the initial perceptions discussed at the roundtable was the aspect of writing real characters for comedy by optimizing versatile actors that might not have been bred in the comedy world. Stiller, Hamburg and Ramis have all dealt with, in interaction, as a point of discussion, with Robert De Niro who is considered an acting legend. Ramis as a director obviously tackled it first with his comedy “Analyze This”. Having been involved with the script, he recalls a one-on-one meeting with De Niro in Santa Monica, California where he explained the anger, grief and guilt of this mob character to the actor. Ramis believed this was the best way to approach it by appealing to that aspect of DeNiro’s personality. De Niro actually took notes during this meeting, according to Ramis, and whenever he spoke to people at the studio about the movie, he would take out his notebook and quote Ramis. When an actor of that stature uses your verbal quotes verbatim, that is a good sign. Hamburg relates a decidedly different interaction with De Niro as the revising screenwriter on “Meet The Parents” joking that the actor “probably thought I was an intern”.

Stiller then proudly brings up the fact that the way he was introduced to Hamberg’s material as a screenwriter (which launched their collaboration which eventually led to “Meet The Parents”) when he saw Hamberg’s indie movie “Safe Men” ten years ago at this very festival. The great thing to see is that Nantucket creates that symbiosis which allows such occurences to happen since that is the way many projects get made. Peter Farrelly interjects, as a matter of point, in regards to the “intern” joke, that he and his brother passed on “Parents” as a directing vehicle in its initial form because they believed the story was weak. After Hamberg got to it and turned it around, Farrelly says it became a movie, successful on all levels, that they could not have foreseen.  Also in terms of seeing that specific script [“Parents”] as an actor, Stiller said that he had an interesting reaction to it as they were getting ready to shoot. He was courting Taylor and actually went to meet her father (a security consultant) while he was in rehearsals which created an ironic “art imitates life” convergence. This seems to relate that it all comes down to connecting with the character on a “real” level for an actor.

In terms of the actor experience in terms of what you write, everybody has a different ideas, especially if you are on both sides of the camera.

Ramis, puts his “effect” in motion talking about being in “Stripes”, initially being a writer and then being assimilated into the scene of that movie as performer while having, in his mind, no acting experience. Stiller responds saying that not many people talk about SCTV, but, as he cites Ramis as a founder, he believes that this year’s honoree really revolutionized a certain kind of comedy structure. Stiller counts that troupe among his influence for “The Ben Stiller Show” in the 90s. Farrelly also points to Ramis as being one of his major influences as it was “Animal House” that showed him that you could push comedies beyond the point of comfortability and still make them work. Ramis relates that, at the time when “House” came out, frat enrollment went distinctly up because everyone was looking for that kind of experience. But again not everyone can be Bluto.


But then again not everyone can be Egon either. To celebrate the 25th Anniversary, Ramis allowed this landmark movie to be shown at the Sconset Casino. Outside the hall, a mammoth recreation of the Stay Puft Marshmallow Man from the original theatrical release dominated the ground.

Seeing the film on actual celluloid and not in a digital format definitely is a wonderful thing. The interesting angle to see this movie with an audience which is not done as often. One forgets how some sequences and jokes play in a mixed audience.  Ramis had just come from the Comedy Roundtable and arrived late as I did.

With the advent and recent 25th Anniversary of the film (which motivated this showing), “Ghostbusters” has begun anew in the hearts of a new audience. A recent video game touted with a brand new story, cutting edge visuals and an glitzy E3 debut mirrors a brand new Blu Ray version of the film. The fervor of “ghostbusting” seems to be beginning again.

When I asked Ramis about the process of writing the original film with Dan Aykroyd, he related that the initial concept was planned as a buddy movie for Danny and John Belushi. After Belushi died, the idea changed until Bill Murray came into the picture. Having worked with Murray onscreen as well as a writer on “Stripes”, Ramis seemed a natural fit to bring the project closer to fruition. Being another character onscreen seemed was just an extension of that. Aykroyd invited Ramis out to his house in Martha’s Vineyard (quite close to Nantucket actually) where they hashed out and revised the script. Ramis jokingly recounts that they would write and then they would swim in Danny’s pool…and sometimes in reverse order.

Initially, according to Ramis, the script for “Ghostbusters” was much different. The second half of the film was completely set in another dimension and was almost, as he describes it, one big special effect. Ramis, in retrospect, it seems, brought a grounding to the film. The big key being that the audience should experience the ghosts in real time as these guys do which starts in the library scene in the beginning of the film. Also initially Aykroyd had the Stay Puft Marshmallow Man occur in the film on page 60 before they left this world for the other dimension. Ramis felt that the story would much better be served within the mundane and watching these guys go from unemployed college professors to who they eventually lofted to be.

Another point I mentioned to Ramis had to do with the balance of what a writer and director perceives when he is on a set where he is not at the controls. Ramis had just directed “National Lampoon’s Vacation” with Chevy Chase which was a decent sized hit.  The funny thing is that there was a plethora of writers and directors on the set of “Ghostbusters” at any given time as performers which meant everything was discussed. Ramis had already directed three movies. Director Ivan Reitman had directed two. Rick Moranis had just directed “Strange Brew”. So there was alot of creative heads moving at once. Ramis said he had a good idea of what the movie would look like in his head from the time they wrote it.

When I countered on the aspect of how different the film was from the actual finished script, Ramis says that they always rewriting on the day because you had the screenwriters on set and in the scene. The specific aspect that Ramis really fortifies is that he knew how to write for Murray in terms of dialogue. He says that he just got Bill’s humor and his rhythm. The problem, he admits, is that when you do that, rewriting, on set, you tend to direct the performance especially if you are in the scene as well. He says that Reitman had to take him aside to remind him who was directing the movie.

Ramis also addressed in the bigger question forum, the “Ghostbusters 3” talk that has been revolving around (specifically lately) in the media. He says that they have gotten everybody to commit including Sigourney [Weaver], [Bill] Murray and Ivan [Reitman]. From what it sounds like however, it is committed based on approval of a finished script. It sounds like Columbia has put the two writers from Ramis’ new film “Year One” (who are also writers on “The Office”) into the first draft mode with Aykroyd and Ramis in consultant roles. That can go either way (in this writer’s perspective) in terms of possibility depending on the skill of these writers in a feature world, as most people have not seen “Year One” yet. Ramis says that Aykroyd has been dying to do a third “Ghostbusters” for years.

Ramis relates that Aykroyd actually wrote another “Ghostbusters” script a couple years back (which Danny brought to him) about the Ghostbusters going to hell. Ramis says that he thought it was quite interesting but it never quite gained traction. The talk of the third movie came up again with Columbia when Aykroyd was talking to them about an animated/CG “Ghostbusters” film (which is actually a very cool idea with the recent leaps in special effects technology and motion control – not to mention 3D). The studio said, according to Ramis, that if they were going to do the CG work anyway, why not make it a live action film?


As the festival wrapped to a close, “The Ramis Effect” took one more stride with a showing of the writer/director’s historically enriched “Year One” starring Jack Black and Michael Cera as the forefathers of all who wander out into the world after escaping from their would-be Garden. Ramis pointed in the Q&A afterward that the movie was, in essence, a field trip through the Old Testament. He had always pitched it as two guys who just happened to end up in these places that they didn’t below. The movie is a hark back to the great buddy movies.

A couple years back, Ramis said he thought of local Ben Stiller and his friend Owen Wilson but by the time the movie came around, that pairing, he said, had already been played. He wanted to work with Jack Black whom he had met when he did a small acting part in “Orange County”. There was just something about him. Producer Judd Apatow suggested Michael Cera whom he had just worked with on “Superbad”. Ramis says that he understood that he had lost touch with the young crowd and that Apatow had his pulse on what the current generation liked. Cera turned out to a great boon. The film itself works simply because of that matching. Cera’s words just slightly miss the daggers being thrown by Black. It is like a dance but it doesn’t feel forced. It is just happening and is augmented by editing. Black plays a big goofball primitive caveman type who seems to be always looking for the ladies and usually just missing his chance because he is overcompensating. On the other hand, Cera’s character is so weak and gets dumped on so much that he doesn’t know how to approach a girl until he gets laid. He tries to hit her over the head with a club but finds out that that doesn’t work either. They meet a bunch of would-be bible figures along the way who simply seem to make them more confused and disconnected. David Cross kills onscreen, literally, as Cain who whacks his brother Abel (Paul Rudd in an apt cameo) with a rock then escapes off to become a would-be Roman soldier who simply loves the “perks”. Hank Azaria plays Abraham who seems to be big into circumcision because of, as he calls it, the “will of God” while his party-hungry, geeky son Isaac (McLovin from “Superbad”) wants to go to Sodom with the boys after they prevent him from being sacrificed. Sodom is, of course, the place to party which is perfect for our intrepid adventurers.

The movie of course tends to placate the aspect that everyone is misunderstood and must step up to the plate. However, the script isn’t above making fun of its own intelligence but also making sure that it hits the mark with the younger generation. Ramis said that they had actually gone and put together the sacking of Sodom as the ending sequence which is something they thought people would want to see. It turns out however, in reshoots, that in shooting new elements for the beginning, the ending in Ramis’ mind, needed to be more ambiguous. Ultimately, the ending of the film is a little bit too resolute and moral for a comedy of this angle but that is a subjective opinion. An open perception a little darker (say “Death To Smoochy”) would have been a lot more telling. But the balance between optimism and cynicism is a narrow road.

“The Ramis Effect: was felt throughout the nooks of Nantucket during the film festival from his perceptions of intellectualism versus the adolescent perspective of his comedic outings to the paranormal mundaneness of scientists acting as ghost exterminators to ancestral adventurers enraptured by the essence of the literal nature of life.  WIth his creative endeavors inspiring a new generation of filmmakers as well as those at the forefront of comedy (like Ben Stiller), Harold Ramis’ impact on comedy remains constant.

Cobblestone Waves & Celluloid Whispers: The 2009 Nantucket Film Festival – Feature


Nantucket, as a point of geographic reference, is an island that lies about 20 miles off of Massauchussets’ South Shore. Home to many of the elite, its small town vibe is balanced by arts-heavy, artisan-thinking community which perfectly embodies the Nantucket Film Festival which itself is committed to story as a screenwriter’s film festival. Unlike The Hamptons, which is only partially removed from its point of origin, Nantucket offers an autonomy that is both peaceful but specifically evident in its lodging, nighttime escapades and food-on-the-go, which is key for any festival goer.

However the peace in the thick of the night as a dense fog rolls in off the jet stream keeps the island’s temperature constant almost year round…a haven within the ocean’s bosom.


Finding the texture of films at a film festivals takes a perspective of choice. This year captured the essence of “The Ramis Effect“. But it is also about a feeling and emotional core. “Introspection” is a word that comes to mind which captures the mindset as you walk down the cobblestone roads in the main quadrant of town. The wharf spreads out to your left while the stones marketing the road leads up to the church at the top of the hill which also houses a theater venue: Bennett Hall. On the other side of the island, accessible by the comfortable and efficient Nantucket Shuttle, the Sconset Casino, more akin to a society club in its beauty, offers an almost concert hall performance which enhanced many of the viewing

“The Burning Plain”, screened at Sconset, was produced by Walter Parkes and Laura McDonald who previously helped guide Dreamworks’ film division with Steven Spielberg. The film stars Charlize Theron and Kim Basinger as two generations of women whose actions impact the other through miscommunication and guilt. The split narrative structure allows for a very unorthodox approach to character motivation giving both actresses as well as the girl who plays a younger version of Theron’s character Mariana a breathe of confused emotions about the meaning of love at its most wretched and how to interpret it. An inner battle to be sure.


The Exploding Girl“, screened at Bennett Hall, takes the ideology of the “isolated” and places it in a overpopulated world. Ivy is spending is spending the summer in Brooklyn, separated from her boyfriend and is best friends with a guy that she can’t quite perceive. Quietly beautiful and seemingly at peace, this girl who should be enjoying the bristle of her newly legal status instead is spending her time in between moments of self doubt anticipating her next epileptic attack. Shot on the Red One camera which is quickly becoming the boon of the indie scene because of the filmic images it is able to capture, even in low light, the moments of stillness with Ivy’s life surrounded by the bustle of the city or the comfort of her bed paint the picture of internal life in progress.

“The Messenger”, also screened at Sconset, uses “isolation” as battleground where information becomes a heartfelt dagger in a modern world. The film follows two Army soldiers played by Ben Foster and Woody Harrelson who, despite have their own perceptions and vices, are charged with informing families of the respective deaths of their loved ones in combat. The film balances an essence of internal strife with the masks of emotions that crumble in the face of human fraility.


The venue setting also proved the inherent equiibrium of the artistic community in Nantucket with both “Tropic Thunder” director Ben Stiller and Greenestreet founder Fisher Stevens, present in the general audience, both asking intrinsic questions on the essence of these themes to both actor Ben Foster and director Oren Moverman .

The key of Nantucket in connectivity too is the aspect of its getaway element and removed from the modern city which allows, as the above shows, people to be people. While the island has an airport which can appropriated by turbo prop, the journey at times can be as telling as the destination.

Departing from the lower level at Logan International Airport, the Plymouth/Brockton Bus Line takes a winding but picturesque two hour drive into the heart of Cape Cod ending up at Hyannis. A mere two blocks away from the final stop in the cusp of the harbor is the Hy-Line Ferry, a high-speed transport that can get you to Nantucket, 25 miles out, in slightly under an hour. While waiting, thirst may overcome. The Raw Bar On Ocean Street, steps away from boarding, offers simple and relaxed fare as their clam chowder and a cold Bud prepares one for the crossing.


The initial Ferry ride over took place at dusk so the cirrus clouds booned above as the sun sunk into the west. The flitter of the lighthouse faded away as the ship gained speed and headed out into the ocean. Unlike the slower ferry, according to some passengers, the high speed is very smooth, like a limo of the sea.

Arriving on Nantucket as the lights of bobbing boats glistened to the arriving vessel in the night, the cobblestone streets leading out from the straight wharf center the old school feel of town. As fog horns echo in the distance, the feel of 18th century regality fills the mind.


The Brant Point Inn, the resting place of noir, is an easy 10 minute walk through town on the cusp of the residential area filled with B&Bs. Cabs are ample so the transition can be smooth as silk. Settling into an upstairs bedroom, as window slips flow in the light wind, dreamland takes hold as, in the darkness, the fog can be seen drifting in off the ocean

When attending a film festival, access to venues is specific. Nantucket has three looping shuttles within one service: the NRTA. The farthest point needed is Sconset Casino where most of the daily films are played. The shuttle drops you off right around the corner. Because of its schedule, it is also a great place to interact with fellow filmmaker and industry people. The beach, with a great view of the breakwater offshore, is only steps away across a quaint wooden bridge.


The food during a film festival also needs to provide an ease of use but with a substance necessary to placate a visitor on-the-go. The most effective area, which is also a late night hangout for summer crowd (much akin to The Hamptons) is Broad Street between Easy and North Beach. There is a string of small eateries that hit the spot

Stubby’s offers differing American fare but the cheese steak replete with onions presented the right balance of zest before a journey to the pub. Steamboat Pizza, by comparison, offered the comfort of an 18” pie split between cheese and pepperoni that was both hearty with taste and filling that can’t be replicated in a chain.


The Juice Bar, a late afternoon stop, offers a degree of latitude when one needs a quick ice cream fix between movies. Their “Kahlua Krunch” double scoop within their home made waffle cone cools the senses. Easy Cantina, the prince of the late night, has Thursday wing specials but the essence of its $6 burger at the witching hour as the perilous few survivors stroll in with tales of lore is quite worth the effort.

For the essences of the go who need a little bit wider berth, the old staple of Grand Union, unassuming and low profile, right in the heart of downtown near the wharf can offer a quick fix of potato salad, bottled water or the fizz of a good Northeast root beer. As this is a town without the requisite convenience stores which would mar its image, this option offers the ability to balance the ride if your diet requires special needs.


Nantucket’s late night, especially in the summer, offers a distinctly pub rich vernacular although the most vibrant was a hidden away near the high end vestiges of the boat basin just north of downtown. Slip 14 balanced the essence of the island’s young and beautiful with the essence of bigger city influence but without the extensive door line. During the summer, a large chunk of the population is from off island so there is an influx of new young blood looking to enjoy the festivities. Clocking a rum and coke while smoking a Cohiba Cuban on the cusp of the harbor as the dresses slink and the eyes wander, the smiles continue without the abatement of old.

Not to say that the pub experience is anything but viable in the town. After Slip 14 when last call approaches, Brotherhood Of Thieves, up Broad Street as well, offers a dark and refined bar experience that reminds one of the East Village in NYC but with a more elegant and clean theme. A Guinness pint goes down quickly while a Blue Moon bides the conversation with the local Russian bar girl, quiet but direct, allowing for the last drop of the night.

The night before, as the drizzle kissed the ground, the sound of town abated but, in the deep quiet of the night, one place offered a glow. Right off the cobblestone of Main, the red essence of The Club Car, though small and narrow, possessed a vision of energy as the locals wound down a late night. A piano player in the back, enticed by the twenty-something crowd, smiled as the would-be youngsters sang along in unison to the high pitched melody of Elton John’s “Crocodile Rock”.


As the wind of lore heads in, the rain drizzles through the streets with a delicious smell that is lost on the West Coast. With the natural energy of a N’oreaster approaching from the North Atlantic, the churning of the sea provides a wondrous perspective of its powers. With a surge of waves, the Hy-Line braves the sound’s fury heading back to the mainland enticing a beautiful escape.