Kumail Nanjiani

Ghostbusters: Frozen Empire

23/03/24

Cineworld, Edinburgh

Back in 2021, Ghostbusters: Afterlife felt like a sizeable step in the right direction. Director Jason Reitman (son of Ivan Reitman, who created the original Ghostbusters) had somehow managed to pull off an effective reboot, introducing a new cast of players and putting two of the youngest members at the helm. This sequel, written and directed by Gil Kenan, wants to have its cake and eat it, employing the new cohort, and bringing in some fresh faces, whilst handing large dollops of screen time to the veteran cast from the first two films. The inevitable result is that Ghostbusters: Frozen Empire feels overstuffed as too many characters slug it out to get their stories across.

There’s a creepy prologue set back in 1904 and then we’re brought bang up-to-date as we join the Spengler family – Phoebe (McKenna Grace), Trevor (Finn Wolfhard), their mum, Callie (Carrie Coon), and ‘step-teacher’ Gary Grooberson (Paul Rudd) as they pursue the Hell’s Kitchen Sewer Dragon through the streets of New York. The Spenglers now operate from the iconic fire station where the franchise began, but the team have been so industrious that they are in serious danger of running out of storage space for ghouls. Then Phoebe (who is only 15) is banned from working with the team by old adversary, Mayor Peck (William Atherton) and has to watch in frustration as the others head off on their ghost-busting duties without her.

Things take a sinister turn when new arrival, Nadeem (Kumail Nanjiani), wanders into the second-hand shop run by Ray Stantz (Dan Akroyd) and sells him a mysterious sphere which used to belong to his late Grandma. It turns out that said sphere is cursed and is the key to releasing an evil spirit called Garakka, who has laid dormant for thousands of years – and is capable of unleashing a second ice age that will turn the world into a frozen wasteland…

This plot-line seems to belong more in the realms of cosmic horror than fun-filled family entertainment. It feels unnecessarily complex and convoluted – and I’m disappointed to report that some of the main characters from Afterlife – Trevor (Wolfhard), Podcast (Logan Kim) and Lucky (Celeste O’ Connor) – have hardly anything to do here other than draw breath. Meanwhile, every actor who enjoyed as much as a walk-on part in the first film is afforded the opportunity to return and strut their respective stuff.

Comedian James Acaster as scientist Dr Lars Pinfield shows some promise as an actor but Nanjiani gets the few funny lines on offer. A promising link-up between Phoebe and teenage ghost, Melody (Emily Alyn Lind), really doesn’t have enough space to fully develop. Time and again, we find ourselves back with the original cast, who really don’t have a valid reason to be there. Bill Murray as Peter Venkman and Ernie Hudson as Dr Winston Zeddermore look like they’re acting in their sleep and, in one scene during the climactic punch up with Garakka, I count thirteen characters, which significantly dilutes the impact.

Most damning of all is the fact that long stretches of the film are just plain dull, spending far too long on exposition, striving to tell us things rather than show them.

This is a shame, because Afterlife rescued a tired formula and gave it the kiss of life. Frozen Empire makes me suspect that this franchise has now flatlined.

2.8 stars

Philip Caveney

The Big Sick

23/07/17

The Big Sick is a fascinating movie: a rom-com for the modern age. Despite being produced by Judd Apatow (Bridesmaids, Knocked Up), the ‘com’ part of the equation is relatively subtle, avoiding (for the most part) the broad, scatalogical approach for which he is famed. Instead, this is a gentle, honest exploration of cross-cultural love and the complexities of modern relationships.

Based on the true story of writers Emily V. Gordon and Kumail Nanjiani, the film charts the initial stages of their romance as they negotiate the choppy waters of one-night stands, reluctantly-developing feelings and parental expectations. When a sudden, devastating illness is added to the mix, it seems as if the relationship might break under the strain.

Kumail Nanjiani plays himself, which adds to the sense of truthfulness. His performance is both charming and understated, with a quirky mix of confidence and modesty, which is very appealing indeed. He doesn’t self-aggrandize, but nor does he self-deprecate in that ostentatious, humble-bragging manner some comedians employ. And his account of his family is affectionate and kind, even though he’s largely shown in opposition to them. They want him to become a lawyer; they want him to be a devout Muslim; they want to arrange his marriage to a Pakistani woman. None of these things coincides with what Kumail wants for himself: he’s an aspiring stand-up comedian; he’s not sure about his faith. But his parents (Anupam Kher and Zenobia Shroff) are not his enemies: they are his family and they love him as much as he loves them. Their marriage is happy, and so is his brother, Naveed (Adeel Ahktar)’s: they all just want the best for him. The women they introduce him to are not awful; they’re real, believable people: attractive, intelligent, with interests of their own. But Kumail has fallen for Emily (played by Zoe Kazan). And she doesn’t fit the mould because she’s a white American.

As for grad-student psychologist Emily, she’s appalled to discover that Kumail is considering an arranged marriage, and that his plans for the future don’t necessarily include her. She’s in love with him, and devastated by the realisation that he’s caught between two worlds. “I can’t be the reason you lose your family,” she tells him. It’s too big, too much.

When Emily falls ill, however, Kumail is forced to confront his feelings and make a decision. He can’t coast along trying to appease everyone forever.

It doesn’t sound very amusing when it’s summarised, but this film is as irreverently funny as it is moving. Holly Hunter and Ray Romano are hilarious as Emily’s bickering parents, and Kher and Shroff’s disapproving double act is also excellent. The scenes backstage in the comedy club are illuminating, and benefit from a convincing shot of authenticity – after all, this is a world that seasoned stand-up Nanjiani knows well.

Really, this is a delightful film, with such a lot going for it. But don’t go along expecting a gross-out comedy. This is something way more interesting.

4.4 stars

Susan Singfield