Movie Review: “Ghostbusters: Afterlife” is a Sequel for the "Stranger Things" Generation

Since Hollywood is hell bent on the cyclical revitalization of existing IP, I wondered a few years ago what the future held for the “Ghostbusters” franchise. 

The original 1984 movie — which epitomizes theatrical comedies of that era — spawned a 1989 sequel, a Saturday morning cartoon (remember when Saturday was “Cartoon Day”?), a breakfast cereal (which was delicious), a Hi-C fruit drink (who doesn't love “Ecto Cooler”?), and a proton pack full of licensed toys, games, apparel, and merchandise. 

It also ranks as one of my favorite movies. I remember seeing “Ghostbusters” when I was 11, during its original theatrical run. I was staying with my older brother (who lived in Texas), and he took me to see it (we also saw “Gremlins” during that visit). 

Any time there is a theatrical revival of one of the movies (typically an anniversary screening), Bridget and I make a point of attending. 

The first attempt to bring back the franchise resulted in a female-led reboot in 2016, helmed by writer/director Paul Feig. I didn’t have my blog when that film was released, but I remember enjoying it at the time. It was a significant departure from the original, and the film had its critics. 

As I’m writing this post, there is a bit of controversy surrounding the 2016 film and the upcoming Ghostbusters Ultimate Collection Blu-ray box set. Specifically, the reboot film was left out of the set, prompting Feig to take to Twitter (the tweet resulted in Sony announcing they will include a code for a free digital copy of the film with the set). 

The success of the original “Ghostbusters” was largely dependent on the comedic personalities of stars Bill Murray, Dan Aykroyd, and Harold Ramis — actors who had cut their teeth at places like Saturday Night Live and SCTV. 

Because their unique personalities were so integral to the film, any sort of 21st century reboot is a challenging prospect. 

Popcorn films during the 1980s were largely star driven. The actor on the movie poster was typically more important than the movie itself. It isn’t quite the same today (the possible exception being Dwayne Johnson, an actor who imbues a bygone era). 

Writer/director Jason Reitman (son of “Ghostbusters”/“Ghostbusters II” director Ivan Reitman) seems to have put the franchise in order with “Ghostbusters: Afterlife.” 

The film works diligently to serve as both a sequel to the original franchise and a reboot for younger fans. 

It's a juggling act that has been tried before with older movie properties. Sometimes it works. Sometimes it doesn’t. 

In my opinion, one of the more successful attempts at this has been the streaming series “Cobra Kai” — a show that strikes the right chord as a sequel/reboot of “The Karate Kid” franchise (read my reviews of “Cobra Kai” Season 1, Season 2, and Season 3). 

“Ghostbusters: Afterlife” takes place 32 years after the events in “Ghostbusters II.” The original busting crew of Peter Venkman (Bill Murray), Ray Stantz (Dan Aykroyd), Egon Spengler (the late Harold Ramis), and Winston Zeddemore (Ernie Hudson) disbanded long before due to a dearth of work. 

Spengler moved to Summerville, Oklahoma, to continue his paranormal pursuits from a dilapidated farm outside of town. As the movie begins, Spengler is trying to capture some sort of supernatural spirit (whose source is an abandoned mine). 

His attempt fails and he dies in the process. 

As a result, his estranged daughter Callie (Carrie Coon) and her children, Trevor (Finn Wolfhard), and Phoebe (Mckenna Grace) relocate to the Summerville farm — a decision made as a result of being evicted from their apartment. 

Phoebe soon learns that the farmhouse is haunted. Finn discovers the original 1959 Ecto-1 ambulance in barn, and sets to work repairing it. 

As the film progresses, the kids encounter additional ghosts, entities, and spirits. 

Along the way, additional supporting players are introduced. 

Gary Grooberson (Paul Rudd) is a summer school science teacher (with an interest in seismology) who takes an interest in Phoebe’s supernatural suspicions. He is also a longtime fan of the work of the Ghostbusters team. (The original Ghostbusters commercial being shown on YouTube is a nice touch.)

Phoebe’s summer school classmate, Podcast (Logan Kim), is a quirky tech nerd who is fascinated with the haunted farm and serves as a loyal sidekick. 

Finn strikes up a friendship with a girl named Lucky Domingo (Celeste O’Connor), a high school student who works part-time with Finn at a retro drive-in diner called Spinners. 

The film itself is obviously built for the “Stranger Things” generation (I don’t think it was a coincidence that “Stranger Things” star Finn Wolfhard was cast in this movie). Frankly, I’m not sure that this film would have happened without the Netflix series paving the way with its supernatural nostalgia. 

While the original two “Ghostbusters” movies tended to be broadly comedic in tone, “Ghostbusters: Afterlife” plays things a little more serious. The humor serves as an accent rather than the point of focus. 

I really appreciated Reitman’s subtlety — in terms of story and direction — in “Ghostbusters: Afterlife.”

I know some have grumbled that the film relies too much on “nostalgia” and “fan service” moments. Frankly, I think that is an unfair criticism. 

These days, nearly every reboot/sequel property based on long-gestating intellectual property (IP) — such as recent entries in the “Star Wars” franchise — provide this sort of fan service. 

If Stay Puft Marshmallow “Mini Pufts” are an example of “too much fan service,” then I say, “the more fan service, the better!” I loved the sequences involving the little confectionery creatures. 

Jason Reitman was the writer/director/producer of the 2009 film “Up In the Air.” Parts of that movie were filmed here in Omaha. My brother-in-law Sean (who died in 2017) served as an extra in airport scenes shot at Eppley Airfield. 

In recent interviews, Reitman has talked about the family aspects involved in making “Ghostbusters: Afterlife.” He was a 6-year-old when the original movie was released, and I’ve seen production photos of him spending time on set with his father. 

There are cameos in this film from some of the original cast members. While this could have been overblown aspect of the film, I thought it was handled in just the right way. 

I had a great time watching “Ghostbusters: Afterlife.” I loved the overall feel of the movie, the performances, and the tone. 

As Bridget and I were watching the movie, I thought to myself, “I’d like to see more adventures with these characters.”

To that point, be sure to stay through the entire credits scroll for both “mid-credit” and “after-credit” Easter eggs. 

Previous post: Book Review: Tech at the Center of “The Sentinel” by Lee Child and Andrew Child 

Book Review: Tech at the Center of “The Sentinel” By Lee Child and Andrew Child

“I’ve been in trouble before. I survived. And right now I have bigger fish to fry.” — Jack Reacher in "The Sentinel"

In early 2020, author Lee Child (née James Grant) announced that his brother (author Andrew Grant) was going to take over writing duties for the Jack Reacher series. 

I recall having mixed emotions at the time. I talked about the change in my review of Child’s 24th Reacher novel “Blue Moon.” Child mentioned that he and his brother would collaborate on the next few books together — before Andrew took charge of the series. Due to the fact that I was pretty underwhelmed by “Blue Moon,” I was worried that perhaps the pair was already collaborating. 

I just finished reading the first novel in this new arrangement, titled “The Sentinel.” Andrew Grant — an established author in his own right — is now credited on the cover under pen name “Andrew Child.” 

I’ve previously reviewed eight Reacher novels on this blog (as well as the short story collection “No Middle Name”). For some reason, I put off starting “The Sentinel” for more than a year after its initial publication. 

I think I was worried about the transition to a new writer (even if that writer came from the same gene pool as Lee Child). I know there have been various series over the years that have seen writer transitions such as this (some more successful than others), but there is such a distinctive personality to a Jack Reacher novel — in terms of characterization, story structure, and writing style — that I was worried I’d be disappointed. 

Let me say first off that “The Sentinel” is a far stronger entry in the Reacher lexicon than 2019’s “Blue Moon.” It has a vibe that feels authentic in the Reacher universe. 

This time out, Reacher finds himself in the small town of Pleasantville, Tennessee, after successfully guiding an insurance negotiator (who was driving around lost in Nashville) to an I-40 onramp. 

At first, I thought naming a sleepy little Tennessee burg “Pleasantville” was an uninspired choice (considering the fact that it is the same name as a 1998 movie starring Tobey Maguire and Reese Witherspoon), but it turns out there is actually an unincorporated community in Tennessee called Pleasantville. 

(While I thought naming a pair of fictional towns “Hope” and “Despair” in the novel “Nothing to Lose” was a tad bit hokey, at least it felt more original than “Pleasantville.” But I digress... )

The unassuming Reacher soon finds himself embroiled in a mystery shortly after his arrival at a Pleasantville coffee shop (a situation that is de rigueur for the former military police officer). 

Reacher stumbles upon a man departing the coffee shop named Rusty Rutherford — a local IT specialist. 

Reacher pays the man no mind, but soon “a signal from some ancient warning system in the back of his brain” causes his interest to ratchet up. 

His keen intellect detects a coordinated attack unfolding to snatch Rutherford (involving two men and a woman). Reacher’s MO is to help the unwary stranger.  

In mere moments, Reacher finds himself running afoul of those attempting to ambush Rutherford as well as the local constabulary. All parties seem anxious to shoo Reacher out of town. 

But our hero is persistent. 

Reacher learns that Pleasantville has been hit by a ransomware attack, and Rutherford (the town’s recently terminated IT manager) is being blamed. 

Despite Rutherford’s urging, government officials failed to invest in a more robust IT infrastructure, making the town a “soft target” for hackers and bad actors. Instead of using Rutherford to help solve the attack, the town has turned him into a local pariah — despite his intricate knowledge about such security breaches. 

All of this sets into motion a mystery wrapped in a conspiracy that has its tentacles winding beyond the boundaries of Pleasantville.

In the middle of the storm is our luddite knight errant, Jack Reacher. 

In a two-part interview with The Crew Reviews about “The Sentinel” (watch Part 1 and Part 2), Lee Child hinted that he was handing writing duties over to his younger brother because he wasn’t equipped to keep Reacher fresh for a younger audience. 

You can definitely see attempts to try and infuse more of today’s technology into “The Sentinel” — we even see Reacher nudged into using a cell phone. I don’t know for sure if Lee and Andrew intentionally went with a more “tech-heavy” focus to appeal a more “tech-savvy” audience or not, but it made me wonder. 

For the most part, the tech-based plot worked. There were some instances (such as a few too many successful attempts at cracking 4-digit security codes) that pushed the boundaries of “willful suspension of disbelief.” 

It is a trait that is fairly common with modern thrillers, so it is a minor quibble. 

To be honest, I prefer my Reacher novels to be less tech heavy. That’s the joy of this series. And I’m speaking as someone who has spent a significant portion of his adult life building websites and crafting promotional efforts online. 

I feel that technology has become something of a crutch when it comes to storytelling these days (and in many entertainment properties, computers have turned into “deus ex machina” plot devices that make detective work far too easy). 

One interesting note: In the earliest passages of “The Sentinel,” we find Reacher aiding a Nashville-based band that has been cheated after a gig by bar owner named Derek Lockhart. 

It almost seemed as if that was going to be the circumstance Andrew Child used to set the story in motion (I could have seen a scenario where Reacher unearthed some sort of conspiracy involving an organized crime ring helmed by Lockhart... or something of that nature). It ultimately turned out to be unrelated to the rest of the novel... 

I had a good time reading “The Sentinel.” While it might not rank among my favorite Reacher novels, it was a fun read that felt at home with the rest of the series. I’ll be interested to see how Reacher evolves as Andrew Grant’s influence is reflected in upcoming stories. 

Overall, I am happy the series is continuing and I think things are in capable hands. 

In other Jack Reacher news...

The new Amazon Prime Video series “Reacher” is set to drop on the streaming service Feb. 4, 2022. The first season runs eight episodes and is based on Child’s first novel “The Killing Floor.” 

I’m looking forward to the show and think actor Alan Ritchson embodies the Reacher look. It will be interesting to see if the overall execution of the show itself is as solid as Amazon’s other book-based detective series “Bosch” (read my 2018 post “You Should Be Watching Amazon’s ‘Bosch’”). 

Here is the teaser trailer for “Reacher”: 

Additional blog posts on author Lee Child:

> Blog: Author Lee Child Reveals the Only Person Jack Reacher is Afraid of... 

> Review: Lee Child’s “Blue Moon” (Plus Thoughts on His Brother Taking Over the Series) 

> Book Review: “Past Tense” By Lee Child 

> Book Review: “No Middle Name: The Complete Collected Jack Reacher Short Stories” 

> Book Review: “The Midnight Line” By Lee Child 

> Book Review: “Night School” By Lee Child 

> Book Review: “The Enemy” By Lee Child 

> Book Review: “Persuader” By Lee Child 

> Book Review: “Without Fail” By Lee Child 

> Book Review: “Echo Burning” By Lee Child

Previous post: Book Review: Longmire Unearths Skeletons and Murder in “Dry Bones”

Book Review: Longmire Unearths Skeletons and Murder in "Dry Bones"

The least populated county in the least populated state...

The last time I checked in with the fine folks of Aksaroka County was my review of Craig Johnson’s tenth novel “Any Other Name”.  

The fictional Wyoming county is the backdrop for one of today’s finest detective series. “Longmire” might be best known to my readers as a Netflix original series (which had its start on the A&E Network). 

But the bestselling book series is a rich universe unto itself. 

I follow and interact with a number of mystery/thriller aficionados (and aspiring writers) on social media, but I don’t see enough attention given to Johnson’s series. 

Maybe it’s because the author eschews visceral thrills and modern trappings to craft his mystery series, creating a timeless quality to the stories. A Longmire novel — with a few minor tweaks — could feel at home anytime from the 1960s to today.

“Dry Bones” is the eleventh full-length novel in the series. 

The story starts off with “one of the greatest paleontological discoveries in modern times” as well as snapping turtles in a pond nipping at the body of rancher Danny Lone Elk.

In the hands of another author, this peculiar combination might not work, but Johnson deftly weaves these “tall tale” elements into an intriguing narrative. 

“Dry Bones” is centered around the discovery of the most complete Tyrannosaurus rex skeleton ever found. 

The T-rex is affectionately referred to as Jen (named for the woman who discovered the skeleton’s two-fingered talon). The find appears to be a potential financial windfall for the High Plains Dinosaur Museum.

The only problem is that the dinosaur bones are on the property of the aforementioned Danny Lone Elk. Officials from the state government and the Federal Bureau of Investigation descend on Absaroka County as a result of the dino bones. 

What ensues could be dubbed “Raiders of the Lost Dinosaur” as the assembled forces jockey for position. 

In the eye of the storm is Sheriff Walt Longmire, the venerable western lawman at the heart of Johnson’s novels. 

A Longmire novel is told from Walt’s first person point of view. The conversational tone adds a cozy feeling of familiarity to the mysteries. 

Along for the ride is a supporting cast that includes recurring characters like Longmire’s undersheriff Victoria “Vic” Moretti, outdoor adventurer Omar Rhoades, former sheriff Lucian Connally, Walt’s daughter Cady, and longtime friend Henry Standing Bear. 

While each novel works as a standalone, there are various subplots that carry over from book to book. In many cases, these points deal with Walt’s life beyond the world of law enforcement. 

Those of you who watched the TV series have a general familiarity with the key players in the Longmire universe, but — as is the case with filmed adaptations — the series strays from the novels. 

For example, in the novels, Cady Longmire lives in Philadelphia with her husband Michael Moretti (Vic’s brother) and their five-month-old daughter Lola (the third Longmire novel “Kindness Goes Unpunished” takes place in Philly and ranks as one of my favorites in the series — it was great to see Walt and Henry Standing Bear mosey outside of their western confines). 

Mother and daughter are flying to Wyoming for a visit during the early passages of “Dry Bones.” What looks like a routine visit turns into a situation that is anything but routine. 

I won’t go into spoilers, but the subplot further develops the relationship between Walt and Cady. One of the things I like about Johnson’s mysteries is that the stories pack an emotional punch. 

This passage illustrates Walt’s emotional turmoil during these sequences: 

“I kept thinking about much easier this would have all been if my wife were still here, and how I would’ve gladly traded places with her if only she could be here to console Cady and care for the baby. Martha was like that — she didn’t have to say anything but would simply lay her hand on you and suddenly things were all right.” 

It is this aspect that makes a Longmire novel so compelling. Some authors might be tempted to create a tough western lawman who is merely a vessel for solving a mystery. But Johnson isn’t afraid to add in psychological heft and a sense of native spirituality to the character. 

I’ve mentioned in my other blog posts (including my review of the previous novel “Any Other Name”) that Bridget and I have had the opportunity to interact with Craig Johnson (and have him sign some books) on three occasions at one of Omaha’s best independent bookstores, The Bookworm. 

If you get a chance to attend an in-person event with Johnson, I’d highly recommend it. He typically does a reading at his events, and the tales come to life as the author’s distinctive baritone voice belts out a passage from his latest tome. 

On the whole, I had a good time reading “Dry Bones.” 

Writing this review makes me wish I had had my blog when I started reading the series in 2012. I really enjoy documenting my progress with these reviews, and look forward to bringing you my thoughts on the next entry in the Longmire series! 

Previous post: Triple Holiday Review: “A Castle For Christmas,” “The Princess Switch 3,” and “Candy Coated Christmas” 

Triple Holiday Review: "A Castle For Christmas," "The Princess Switch 3," and "Candy Coated Christmas"

I was just recalling a trip we made back in December of 2016 to St. Cloud, Minnesota. We were following the University of Nebraska at Omaha Hockey team there as they took on the St. Cloud State Huskies in a two-game conference matchup. 

(Don't worry... I'll get to the sappy Christmas movies in a moment.) 

It was cold and snowy during our visit (the trip home had us driving through a blizzard). 

The one thing I remember about that journey — more than anything else — was the fact that we decided to forgo a number of possible activities (during non-game hours) to stay in our cozy hotel room and warm our hearts with the endless marathon of holiday movies on the Hallmark Channel. 

I want to qualify this by saying that we don't have cable, satellite, or a cable-like streaming bundle available to consumers (and haven't for many years). So this was our chance to enjoy all the schmaltzy goodness Hallmark has to offer each December. 

(One note: On our next visit to St. Cloud in 2018, the hotel had removed the Hallmark Channel. Coincidence? Or was it a strategic attempt by the local Chamber of Commerce to get lodgers out and spending money?)

It seems like everyone is copying the formula that has worked so well for the Hallmark Channel (and other linear TV outlets like Lifetime that are known for this sort of fare). I've reviewed a number of holiday movies made by Netflix (some produced by Hallmark partner MPCA) on this blog, but more are getting into the game. 

In this "triple-feature review," I have three syrupy holiday movies to look at: "A Castle For Christmas" (Netflix), "The Princess Switch 3: Romancing The Star" (Netflix), and "A Candy Coated Christmas" (Discovery+). 

"A Castle For Christmas" 

"A Castle For Christmas" features 1980s icon Brooke Shields as a bestselling novelist named Sophie Brown — and Brown has just killed off a popular character in her book series. 

Facing public backlash, Sophie decides to travel to a village in Scotland (home of her ancestral roots) and in rather short order sets her sites on purchasing a castle (where her father once served as a groundskeeper) from owner Myles (played by an overdone Cary Elwes), who is dealing with troubles of his own. 

If this wasn't a sugary Christmas movie, you'd have to question the mental well-being of Ms. Brown. She's potentially thwarted her literary career by killing off a popular character, and she has made a sketchy financial deal for a dilapidated castle. 

All of this is wrapped up with Sophie's recent divorce from her husband. In a more serious drama, we might be looking at the story of a successful person unraveling. 

But there is nothing in the world of schmaltzy Christmas movies that can't be fixed by eggnog, a loyal dog, Christmas lights, and a knitting circle that meets at a local pub. 

Keen-eyed followers of the "Netflix Christmas Universe" will spot a brief cameo from a couple of supporting players seen in "The Princess Switch" movies. 

Overall, the movie hit all the key notes typical for this territory. I just never bought the idea that there was any sort of chemistry between Shields and Elwes.  

"The Princess Switch 3: Romancing The Star" 

I love "The Princess Switch" movies. In fact, I did a double review of the first two movies last year. 

It's another year, and the team behind "The Princess Switch" is as prolific as ever dishing out Vanessa Hudgens's doppelgängers. 

That result is "The Princess Switch 3: Romancing The Star," at it offers fans a chance to catch up on the exploits of baker-turned-princess Stacy DeNovo (Vanessa Hudgens), Queen Margaret Delacourt (Vanessa Hudgens), and Margaret's cousin Lady Fiona Pembroke (Vanessa Hudgens). 

Honestly, I was a tad bit disappointed they didn't come up with a fourth doppelgänger (just to keep Hudgens on her toes). 

In this entry, Lady Fiona really takes center stage. 

As Princess Stacy and Queen Margaret are prepping to host an international Christmas festival in Montenero, the centerpiece decoration — known as the "Star of Peace" (a tree-topper on loan from the Vatican) — is stolen. 

Stacy and Margaret call on Fiona (who is serving a "sentence" working at an orphanage due to her exploits in "The Princess Switch: Switched Again") to help steal it back. 

The typical "Princess Switch" hijinks ensue. We get sets overloaded with Christmas decorations, the three doppelgängers posing as one another, cheesy dialogue, and a love interest for Fiona — ex-boyfriend Peter Maxwell (Remy Hii). 

What I like about "The Princess Switch" movies is that they've veered beyond the standard schmaltzy romance stories into something far more fun and ridiculous (in the case of the most recent entry, a frosting-covered heist movie). 

As a result, I've really enjoyed the evolution of "The Princess Switch" series, and can't wait to see what craziness ensues next. 

"Candy Coated Christmas" 

Shifting away from Netflix, I decided to include my thoughts on the new Food Network/Discovery+ production titled "Candy Coated Christmas." 

Molly Gallant ("Last Man Standing's" Molly McCook) lives in Beverly Hills, and is a marketing specialist for her family's resort hotel chain. She is counting on seed money from her father for a baby products business she is planning to start with her friend Gracie (Jae Suh Park). 

She is also preparing to jet to Hawaii for Christmas. 

"Candy Coated Christmas" is a Hallmark-esque holiday movie. That means the best-laid plans for our successful, independent business woman have to go awry in some manner — only to be saved by a rough-around-the-edges hunk in a charming little burg. 

In Molly's case, she learns her family's business is failing (due to a lack of bookings) and the only way she can get the money for her startup is to sell her mother's childhood home in the town of Peppermint Hollow, Washington. 

Most people in Molly's situation would handle the sale via phone, text, and email. But — this being a schmaltzy Christmas movie — Molly has to fly to Peppermint Hollow to put things in motion.

We all know how this is going to go. She's flying to the flipping "Peppermint Capital of the World" for Pete's sake!!

The house is being rented by the Winters family (old family friends of her deceased mother).

Kim (Lee Garlington), her son Noah (Aaron O'Connell), and Dakota (Landry Townsend playing Kim's teen granddaughter and Noah's niece) are the tenants. They grow peppermint. They make things out of peppermint — including Kim's special formulation that soothes infants with just a few drops on a pacifier. 

We all know how this is going to go down.  

Molly is going to fall in love with the Winters family. In particular, she is going to fall in love with Noah — a kind, gentle, perfectly hunky man who looks like he stepped out of a Land's End catalog, but just so happens to be a genius MIT grad. 

Ree Drummond of "The Pioneer Woman" plays local Peppermint Hollow baker Bee Tyler Essary (who dispenses delicious treats and sage business expertise). 

I think "Candy Coated Christmas" could have benefitted from a bit more character/story development (yes, I know that sounds like a ridiculous comment). But I enjoyed it. Maybe Discovery+ will check in on things in Peppermint Hollow again next year. 

************

More than anything, I enjoyed listening to Bridget throw snowballs at the Santa-sized plot holes featured in each of these movies. It is sort of fun to just sit back and immerse yourself in the goofiness of it all — and scratch your head at all the leaps in logic that take place. 

"A Castle For Christmas," "The Princess Switch 3," and "Candy Coated Christmas" will never be mistaken for high art. But the characters are endearing — and the outcomes are so sweet and sentimental — that you just wish your life was tied up neatly with that sort of sparkly bow. 

Let's face it, we could all use more of that! 

Previous post: Cereal Review: General Mills "Elf" Cereal 

Cereal Review: General Mills "Elf" Cereal

It’s Christmastime, and that means it is time for a very special holiday cereal review!

This year’s victim... err... subject is General Mills’ “Elf” cereal (branding based on the popular 2003 movie starring Will Ferrell). 

“Elf” cereal follows a pretty standard pattern for these sorts of special edition cereals — sweetened corn puffs with marshmallows. 

As is the case with a lot of cereals, the “marshmallow-to-puff” ratio is far too low. Stop being stingy with the ’mallows!

The three marshmallow-shaped pieces featured are a candy cane, a piece of candy corn, and the green round thing I can only assume is supposed to be a standard piece of candy (since those are all things that Buddy the Elf liked in the movie). 

One of the more interesting aspects of General Mills’ “Elf” cereal is that the sweetened corn puffs have a distinct maple syrup flavor. 

Maple syrup is one of Buddy the Elf’s favorite condiments in the movie. Adding in the flavoring definitely sets the cereal apart from other holiday counterparts — such as the Kellogg's “Elf on the Shelf” Cereal that I reviewed in 2020. 

On the back of the box is a Buddy the Elf “Clausometer” with all sorts of activities kids and their families can do to help the community and enjoy the holidays — including organizing a food drive in your neighborhood and making “Buddy approved” recipes from bettycrocker.com. 

While the General Mills’ “Elf” cereal might not be a magical experience for all, I found it to be pretty good. As I mentioned before, the maple syrup flavor set it apart from other novelty cereals I’ve reviewed. 

As always, I’d like to thank those who enjoy these cereal reviews for their positive feedback and cereal recommendations throughout the year. I haven’t been able to track down all of the suggestions in the store, but keep them coming! 

I hope everyone has a Merry Christmas and a Happy New Year! See ya back here soon!

Previous post: Movie Review: Villeneuve’s “Dune” Offers Visual Appeal, But Is The Film Compelling? 

Movie Review: Villeneuve's "Dune" Offers Visual Appeal, But Is The Film Compelling?

As a science fiction fan, I sort of have an interesting relationship with “Dune.” 

I’ve seen every incarnation — every attempt — to bring Frank Herbert’s 1960s-era literary franchise to the screen. 

I’ve never read the original novel. I tried once in the 1990s; I just couldn't get into it. 

The first attempt to bring “Dune” to the screen was director David Lynch’s big-budget adaptation released in December of 1984. 

I remember the marketing for that film more than anything. I recall seeing commercials promoting midnight screenings. I also remember the chords of the soundtrack by Brian Eno (and his band Toto) feeling very distinctive. 

As was the case with sci-fi movies in that era (that didn’t come from George Lucas or Steven Spielberg), it looked strange, bizarre, and (to a 12-year-old kid) glorious. 

I didn’t see the movie in the theater. I’m sure the tepid reviews had an impact, but that hadn’t stopped me in the past (I recall seeing other oddball sci-fi movies like “Ice Pirates” at our local 99 cent theater — the Gemini 2 — during that era). 

My mom and I rented the movie on VHS when my dad was away at a work conference. It felt like a confusing mess at the time, but the visuals and overall style of the film stuck with me. 

Roughly 16 years after the release of Lynch’s “Dune,” the Sci-Fi Channel offered a three-part miniseries titled “Frank Herbert's Dune.” 

I actually own that miniseries on DVD. It certainly didn't have the budget, scope, and visual effects of Lynch’s cinematic vision, but the story was given room to breathe, and the production’s look left an impression on me. 

(The cinematographer for the miniseries was Vittorio Storaro, who brought a color-saturated “comic strip” look to the production — similar to the visual style he brought to the underrated 1990 film “Dick Tracy”).  

By now you know that “Dune” has been reincarnated once again. It was one of the movies I was curious about in 2021 (it was originally slated for release in 2020). 

Full disclosure: I didn’t feel a burning need to see another attempt to bring “Dune” to the big screen. But Denis Villeneuve is one of today’s best directors and I like his work. 

I’ve reviewed two of Villeneuve’s movies on this blog — 2016’s "The Arrival" and 2017’s "Blade Runner 2049".  The latter of the two had me excited to see where he could take Herbert’s sprawling tale. 

“Dune” tells the story of Paul Atreides (Timothée Chalamet), a moody young man who is trying to find his place in the universe (which is pretty much standard operating procedure for every young sci-fi/fantasy protagonist). 

His father — Duke Leto Atreides (Oscar Isaac) of House Atreides — is ruler of the ocean planet Caladan. Early on in the film, we learn that he has been tasked by the Padishah Emperor Shaddam Corrino IV (it’s a mouthful) to replace House Harkonnen as rulers of the desert planet Arrakis. 

Arrakis is the universe’s only source of “spice.” The spice has all sorts of interesting benefits. It has mind-expanding effects and is key for travelers navigating space. 

At play are various interests looking to control the flow of spice, including Fremen — Arrakis’s native desert dwellers. 

The other key player is House Harkonnen, the previous rulers of Arrakis. 

One of the narrative aspects that bogged down 1984’s “Dune” was the political web presented in Herbert’s novel. It can be a lot for a viewer to digest in a two-hour movie, and Lynch’s film had an early “info dump” that made it hard to get into the film. 

Villeneuve does a decent job doling out these plot points in more digestible dribs and drabs throughout his film’s 156-minute runtime. 

In addition to “Dune’s” spice-focused plot thread, a storyline involving Lady Jessica (Rebecca Ferguson) adds mystical elements to the overall plot. 

Jessica is Leto Atreides’ concubine and Paul’s mother. She is also an acolyte of the Bene Gesserit — an exclusive order whose members possess advanced physical and metal abilities. 

Paul is suspected by the Bene Gesserit to be the Kwisatz Haderach, a messiah-like figure who will bring balance to the Force... err... I mean... lead humanity to a more enlightened future. 

All of the aforementioned plot points lay the foundation for the story moving forward. The prevailing challenge with “Dune” is that a screenwriter has to give enough exposition to hook those new to the story, but avoid going overboard and turning the film into a world-building slog.  

Villeneuve’s “Dune” only tells about half the story presented in the novel (a fact that won’t spoil anything for those who are unfamiliar with “Dune”). Which means this film is primarily focused on setting the scene. 

I saw this at Aksarben Cinema with my friend Scott (who has also seen the 1984 film and the 2000 miniseries). He checked his watch at one point and said, “there’s a lot of story left to go... how long is this movie?” 

Villeneuve has mentioned that his grand vision is to make a trilogy — with the first novel occupying the first two films and Herbert’s novel “Dune Messiah” being the basis for the third. 

(A second film was green-lit shortly after the “Dune’s” opening weekend at the box office.)

Considering the fact that I was pretty familiar with the source material, I found “Dune” to be a bit slow at times (... my eyes got heavy at various points). 

That doesn’t mean “Dune” isn't an expertly crafted film with a beautiful visual style. It simply means that there is a considerable amount for viewers to digest, and it is worth preparing yourself for before going in. 

I couldn’t help but compare this to the new Apple TV+ series “Foundation” (based on works by Isaac Asimov). There are a number of similarities and some notable differences. The advantage that “Foundation” has is the fact that a multi-season series can take time to “deep dive” into all the world-building intricacies inherent in these types of science fiction properties. 

The main performers in “Dune” were all solid. 

Of note were a couple of supporting performances. Josh Brolin and Jason Momoa stood out to me. The reason I say that is because this territory can often find actors speaking lines in sort of a “regal monotone voice” that can be lifeless. 

Brolin (who played Gurney Halleck) and Momoa (who played Duncan Idaho) both infused some personality into the material. I think the production benefitted from their performances (small as those roles were). 

One aspect of the film I found to be less than stellar was the musical score by Hans Zimmer. All too often, Zimmer’s stylings in “Dune” felt more incidental than they did anthemic. I know that has become a trend in modern movies, but I do think a hummable soundtrack aids this genre. 

Some have proclaimed Villeneuve’s “Dune” to be the best science fiction movie in years. The film has received a variety of critical accolades (and will likely get several Oscar nods). 

I’ll be the first to admit that my criteria for what makes a movie “the best” varies quite a bit from high-brow cinema snobs out there. I don’t need art. I just want to be entertained and have a good time at the movies. 

As I mentioned earlier, “Dune” is a competently crafted film — it looks and sounds terrific. 

I’m not quite sure I’m ready to deify it at this point. I’ll see how the second part goes before I render my final verdict. 

It certainly isn’t for everyone, and it does require a bit of patience. Some viewers will consider that a virtue. I tend to favor science fiction and fantasy films that are more accessible for casual viewers. As a result, I found “Dune” to be something of a mixed bag. 

But that’s just me... 

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