When a corrupt businessman and the grotesque Penguin plot to take control of Gotham City, only Batman can stop them, while the Catwoman has her own agenda.
Director:
Tim Burton
Stars:
Michael Keaton,
Danny DeVito,
Michelle Pfeiffer
Batman must battle former district attorney Harvey Dent, who is now Two-Face and Edward Nygma, The Riddler with help from an amorous psychologist and a young circus acrobat who becomes his sidekick, Robin.
Superman agrees to sacrifice his powers to start a relationship with Lois Lane, unaware that three Kryptonian criminals he inadvertently released are conquering Earth.
Directors:
Richard Lester,
Richard Donner
Stars:
Gene Hackman,
Christopher Reeve,
Margot Kidder
An artificial man, who was incompletely constructed and has scissors for hands, leads a solitary life. Then one day, a suburban lady meets him and introduces him to her world.
Following a ghost invasion of Manhattan, paranormal enthusiasts Erin Gilbert and Abby Yates, nuclear engineer Jillian Holtzmann, and subway worker Patty Tolan band together to stop the otherworldly threat.
Director:
Paul Feig
Stars:
Melissa McCarthy,
Kristen Wiig,
Kate McKinnon
Five years after the events of the first film, the Ghostbusters have been plagued by lawsuits and court orders, and their once-lucrative business is bankrupt. But when Dana has ghost problems again, the boys come out of retirement and are promptly arrested. The Ghostbusters discover that New York is once again headed for supernatural doom, with a river of ectoplasmic slime bubbling beneath the city and an ancient sorcerer attempting to possess Dana's baby and be reborn. Can the Ghostbusters quell the negative emotions feeding the otherworldly threat and stop the world from being slimed?Written by
David Thiel <d-thiel@uiuc.edu>
A scene was filmed, but cut which as Ray and Egon detect the river of slime beneath the city, as they investigate the baby carriage incident. Dana asks Peter, Egon and Ray why is it happening to her again? and what it is about her that the ghosts and the supernatural forces like about her and Egon believes that it may be something genetic related, which Dana could be vulnerable to paranormal activity. See more »
Goofs
(at around 55 mins) Outside *Peter's apartment building* as Peter and Dana are calling for a taxi, the ectomobile pulls up. The numberplate on the front clearly says ecto-2 this is because the revamped ecto was intended to be called ecto-2 but was later changed to 1a, this scene must have been shot before the change was made. See more »
After the ghostbusters visit the museum and inspect the painting, Ray falls under Vigo's hypnotic gaze and goes crazy through the streets, running a red light and nearly killing the four of them. Winston finally manages to gain control and the Ectomobile runs into a tree. Peter remarks to Egon to watch Ray and not let him shave by himself. This scene was cut, but the shot of the Ectomobile running the red light and Peter and Egon trading bewildered looks was saved for the montage sequence. However, this sequence remained in the novelization. See more »
First of all...where are the ghosts? We have the Scolari Brothers and Slimer but there is an agonizing lack of spooks and spectres in this sequel and the bustings of required. Ghostbusters II should have opened with a huge set-piece (ala James Bond) and then launched the title screen. We have seen these guys set-up, we have had the origin story, they were cheered by the city after saving the world from 40 years of darkness, earthquakes, volcanoes, the dead rising from the grave, human sacrifice, dogs and cats living together mass hysteria!
Get the point?
Instead the movie stumbles over the starting line by announcing that they were sued by everyone in New York for blowing-up Spook Central and were labelled as frauds. Yeah, because conjuring up a very tangible Marshmallow Man and Gozer's voice booming all over Manhattan is easy to pull off when you're a conman. Not only that but the team have disbanded and Dana has married someone other than Peter. In five years she dumped him, married someone else, had a kid with him, and was dumped herself when he left to go to Europe. That timeline seems a little tight.
A portrait of a gruesome medieval warlord being brought to a New York museum coincides with a viscous, psycho-magnatheric river of slime materializing beneath the streets. All of the hate and anger in New York has became tangible and is giving Vigo the Carpathian power from his painting. He wants to inhabit a newborn on the stroke of midnight on New Year's Eve and thus take over the world some time later. He's hardly Gozer. Vigo does pretty much nothing for the whole movie and his motivation to become a 90s baby doesn't exactly frighten us.
Where is the darkness? This movie is far too light-hearted, helped none by Randy Edelman's lame score which is absolutely no match for the power of Elmer Bernstein from the first movie. Lazlo Kovac's is gone, by Michael Chapman does a fine job in his place, with some truly wonderful wide shots and camera blocking featuring up to six characters at once. GBII has great anamorphic photography but the darkness is not there and it is needed.
It satisfied me as a kid, but I can't help but be disappointed at the numerous missed opportunities when I watch it as an adult. It should have been more. It should have been much, much more.
I also find it odd that for a film that has a climax set on New Year's Eve there is not one mention of Christmas. And what's twice as weird, or just plain lazy, is the fact that the real life building that became Spook Central in the first movie is visible during the montage scene. All the had to do was point the camera in another direction or use a matte painting to alter it back to its fictional appearance.
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The 91st Academy Awards isn't the first year the show won't have a host, but it will be the first time since the 1989 Snow White and Rob Lowe incident. So will the 2019 Oscars still rock you?
First of all...where are the ghosts? We have the Scolari Brothers and Slimer but there is an agonizing lack of spooks and spectres in this sequel and the bustings of required. Ghostbusters II should have opened with a huge set-piece (ala James Bond) and then launched the title screen. We have seen these guys set-up, we have had the origin story, they were cheered by the city after saving the world from 40 years of darkness, earthquakes, volcanoes, the dead rising from the grave, human sacrifice, dogs and cats living together mass hysteria!
Get the point?
Instead the movie stumbles over the starting line by announcing that they were sued by everyone in New York for blowing-up Spook Central and were labelled as frauds. Yeah, because conjuring up a very tangible Marshmallow Man and Gozer's voice booming all over Manhattan is easy to pull off when you're a conman. Not only that but the team have disbanded and Dana has married someone other than Peter. In five years she dumped him, married someone else, had a kid with him, and was dumped herself when he left to go to Europe. That timeline seems a little tight.
A portrait of a gruesome medieval warlord being brought to a New York museum coincides with a viscous, psycho-magnatheric river of slime materializing beneath the streets. All of the hate and anger in New York has became tangible and is giving Vigo the Carpathian power from his painting. He wants to inhabit a newborn on the stroke of midnight on New Year's Eve and thus take over the world some time later. He's hardly Gozer. Vigo does pretty much nothing for the whole movie and his motivation to become a 90s baby doesn't exactly frighten us.
Where is the darkness? This movie is far too light-hearted, helped none by Randy Edelman's lame score which is absolutely no match for the power of Elmer Bernstein from the first movie. Lazlo Kovac's is gone, by Michael Chapman does a fine job in his place, with some truly wonderful wide shots and camera blocking featuring up to six characters at once. GBII has great anamorphic photography but the darkness is not there and it is needed.
It satisfied me as a kid, but I can't help but be disappointed at the numerous missed opportunities when I watch it as an adult. It should have been more. It should have been much, much more.
I also find it odd that for a film that has a climax set on New Year's Eve there is not one mention of Christmas. And what's twice as weird, or just plain lazy, is the fact that the real life building that became Spook Central in the first movie is visible during the montage scene. All the had to do was point the camera in another direction or use a matte painting to alter it back to its fictional appearance.