Act Four: Why the box-office woes of 'Ghostbusters' are a good thing

A loss for remakes is a win for original filmmaking.   Alyssa Rosenberg on culture and politics   From left, Melissa McCarthy, Kate McKinnon, Kristen Wiig and Leslie Jones in “Ghostbusters.” (Sony Pictures via Associated Press) Before Paul Feig’s remake of “Ghostbusters” hit theaters, the reaction to it by some people who were affronted by a female-fronted re-imagining of a beloved childhood movie made it hard to express any doubt about the project. Saying you felt mixed-to-meh about a “Ghostbusters” remake was tantamount to siding with people who were throwing tantrums. But lo, the “Ghostbusters” remake was not very good and did not do very well at the box office, and now is unlikely to have a sequel. And I’m honestly relieved. I never particularly saw the need or comedic opportunity for a “Ghostbusters” remake. Though the original has gained a small but dedicated conservative following, it doesn’t exactly overflow with ideas or concepts that are highly relevant to our current political environment. And while a clever script might be able to come up with ways to make gender relevant to fighting ghosts, it’s not exactly an obvious leap. So my great fear was that, however unnecessary it was, a “Ghostbusters” remake would do so much better at the box office than one of the original movies Feig has made with Melissa McCarthy, like “Bridesmaids” and “Spy,” that the two would be diverted into a constant cycle of gender-flipped remakes and reboots. Instead, “Ghostbusters” is lagging behind both “Bridesmaids” and “Spy.” It’s possible that “Ghostbusters” will catch up over time, but it’s certainly not a breakout hit the way those movies were. Score two for original ideas. None of this is to say that the lackluster performance of “Ghostbusters” will save us from an endless round of Hollywood retreads, though this summer has been full of examples of the diminishing returns when you try to reanimate old franchises or keep creaky-looking ones on life support. But if the lack of enthusiasm for “Ghostbusters” frees up Feig and McCarthy to do something more daring and exciting, I’ll take it. ADVERTISEMENT   'Hell or High Water' may be the first great film about the failed economic recovery A new Western captures the lingering impact of the recession. By Sonny Bunch  •  Read more »   ‘Abortion: Stories Women Tell’ brings kindness to an often ugly debate Abortion is a subject defined by ugly debates. A new film emphasizes kindness and decency instead. By Alyssa Rosenberg  •  Read more »   ‘Politically incorrect’ ideas are mostly rude, not brave Being rude to adoptive parents, people with disabilities or women isn't actually risky in contemporary America. By Alyssa Rosenberg  •  Read more »   Adam McKay on ‘Talladega Nights,’ red states’ rebellion and the rise of Trump Ten years after his NASCAR movie debuted, McKay talks about falling for racing, red states' sense of humor and the backlash against corporate America and establishment politicians. By Alyssa Rosenberg  •  Read more »   Women’s gymnastics gives audiences a unique connection with athletes Shot in close-up, we see all the forced smiles and genuine joy this high-pressure sport can inspire. By Stacia L. Brown  •  Read more »   ADVERTISEMENT   Recommended for you   Intersect The corner of the Internet and interesting, in your inbox weekly. Sign Up »         Share Act Four:       Twitter      Facebook Trouble reading? Click here to view in your browser. You received this email because you signed up for Act Four. For additional free newsletters or to manage your newsletters, click here. We respect your privacy. If you believe that this email has been sent to you in error or you no longer wish to receive email from The Washington Post, click here. Contact us for help. ©2016 The Washington Post, 1301 K St NW, Washington DC 20071