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.
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.
Having lost their status and credibility five years after covering New York City with marshmallow in Ghostbusters (1984), the once-famous band of spirit-hunters find themselves struggling to keep afloat, working odd jobs. However, when Dana Barrett and her baby, Oscar, have yet another terrifying encounter with the paranormal, it's up to Peter Venkman and his fearless team of supernatural crime-fighters to save the day. Now, once more, humanity is in danger, as rivers of slimy psycho-reactive ectoplasm, and the dreadful manifestation of the evil sixteenth-century tyrant, Vigo the Carpathian, threaten to plunge the entire city into darkness unless the selfless Ghostbusters take action. Can they save the world for the second time?Written by
A scene featuring Ray driving Ecto-1A recklessly at speed, as a result of being possessed while examining Vigo's painting, was filmed but not used in the final edit of the movie. However, some shots of the sequence (Ray running a red light; Peter, sitting in the back, pulling a surprised face) were used in the montage as the Ghostbusters go back into business. (This continued a trend of unused scenes being used in a montage. In the first film, a scene of Ray and Winston investigating a haunted fort, where Ray encounters a beautiful ghost, was filmed and not used, but instead used as a 'dream' in that movie's montage sequence.) See more »
(at around 1h) When Ray, Egon, and Winston (Ernie Hudson) go down into the sewer to examine the slime, and Winston is using a measuring device to see how deep it is, when he is being pulled towards the slime and Egon and Ray are trying to hold him back, you can hear one of them call Winston "Ernie" by mistake. See more »
[whips around Melodramatically, and speaks in a soap opera-esque deep tone]
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There is a brief scene in the end credits of the Ghostbusters being honored at an apparently restored Statue of Liberty. See more »
Aside from several minor dialog changes because of translation issues, the German-dubbed version changed the baby's name from Oscar to Donald. 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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