This overstuffed franchise entry is lacking in real spirit

The latest Ghostbusters instalment begins, a little pretentiously, with a poem. Specifically, Robert Frost's Fire and Ice (the one that begins. "Some say the world will end in fire/Some say in ice."). It's a cool (no pun intended) poem but seems a wee bit pretentious to open a Hollywood franchise movie. Fortunately things liven up from there, with an eerie prologue set a century ago where people are discovered frozen in place.

This film follows on from Ghostbusters: Afterlife (2021). Callie Spengler (Carrie Coon) - daughter of now-deceased original Ghostbuster Egon - is now married to former teacher Gary Grooberson (Paul Rudd). With Callie's teenage children Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace), they've moved from Oklahoma to New York City and now live and work in the original Ghostbusters' converted fire station, carrying on the business of seeking out and storing the spooks.

Given New York seems to be infested with ghosts almost as much as it is with rats, you'd think the city's leaders would be doing as much as possible to help the Ghostbusters. But that's never been the case - the damage caused by the spookhunting is of more concern than the apparitions themselves. There's gratitude for you.

Walter Peck (William Finley) was an antagonistic bureaucrat in the 1984 original; now he's the mayor and still stridently anti-Ghostbuster. Original Ghostbuster turned wealthy businessman Winston Zeddemore (Ernie Hudson), who owns the fire station, urges caution given the circumstances.

Phoebe, being 15, is forbidden from ghostbusting, despite her skills, after one particular incident. That leaves the couple, Trevor and some interns and employees (including the inventive Lars, played by British comedian James Acaster) to carry on the fight. There are too many characters; most have little to do.

The sidelined Phoebe rather unwisely goes to the park at night to play chess with herself. She isn't mugged, luckily, but she does meet a ghost, of teenager Melody (Emily Alyn Lind), who seems to be a kindred spirit (again, no pun intended). This is one of the story strands that could have been imbued with more feeling.

While Winston became wealthy, his former colleagues aren't so flush.

Paranormal historian and metallurgist Ray Stantz (Dan Aykroyd) trades in interesting artefacts and assesses people's items for their paranormal potential. One day, Nadeem (Kumail Nanjiani) comes in with a collection of his grandmother's odds and ends to sell, including a mysterious sphere that, along with Nadeem himself, will come to play a big part in the story.

Aykroyd seems very happy to be there, spouting his technojargon and having plenty to do. Hudson's role is smaller but important. Bill Murray, however, is only in a couple of scenes as Peter Venkman and mostly looks a little bored - but then Murray usually looks that way.

And it's good to have what remains of the band back together even if the film isn't very memorable.

Director Gil Kenan wrote the screenplay with Jason Reitman, the son of original Ghostbusters director Ivan (who died in 2022 and to whom the film is dedicated).

The film feels overstuffed with characters and callbacks, as if throwing as much as possible out there will keep the attention of the audience, but it starts to pall. And the technobabble is as dull as ever. Just get on with the ghostbusting!

Although it's really just a cash grab, the movie is easy to take, the cinematic equivalent of junk food. I'm not sure we need more, but that will depend on this fares at the box office.

And there's a mid-credits scene to stay for.