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After being kicked out of their university, parapsychology professors Spengler, Stantz and Venkman decide to set up shop in an old firehouse, trapping pesky ghosts, spirits, haunts, and poltergeists for money. After some initial skepticism, business is soon booming as The Ghost Busters rid New York of its undead. When a downtown skyscraper becomes the focal point of spirit activity linked to the ancient god Gozer, however, the problem may be more than the team can handle.
The plotting may be primitive, but it's all carried off with far more style and finesse than one might expect from the creators of Animal House and Meatballs.
Ghostbusters is primarily a showcase for Murray, who slinks through the movie muttering his lines in his usual cheeky fashion and getting off an occasionally hilarious crack that proves he's thoroughly enjoying himself.
Part of the sheer joy of this movie -- aside from the comic timing of Bill Murray -- is the cartoonish crapness of its apparitions and their placid acceptance by the Ghostbusters team.
On balance, Ghostbusters is a hoot. It's Murray's picture, and in a triumph of mind over matter, he blows away the film's boring special effects with his one-liners.
The elastic structure provides ample room for inspired surrealism, yet the looseness never compromises the film's tongue-in-cheek love letter to pre-gentrification Manhattan or its piercing satire of Reaganite go-getting ...