This Wednesday, December 1 , the team of S.O.S. Ghosts returns to the big screen. Jason Reitman decides to succeed his father, Ivan Reitman, to stage a new opus of the S saga .O.S. Ghosts. More than thirty years after S.O.S. Ghosts 2, Jason Reitman decides to make a new sequel, which totally omits Paul Feig's version. A new lap that seeks to return to the origins by bringing back the original cast composed of Bill Murray, Dan Aykroyd and Ernie Hudson. The rest of the cast includes Carrie Coon, Finn Wolfhard and Paul Rudd.
S.O.S. Ghosts: The Legacy – a largely dispensable film
Late sequels to 1980s classics are all the rage right now in Hollywood. Blade Runner 2049 and Mad Max: Fury Road are just a few examples. Thus, S.O.S. Ghosts: The Legacy wants to ride on the same pattern, and propose a sequel to the two original films. A way to go back to the source of the myth and play with the nostalgia of the fans. Unfortunately, the work never works completely, and fails to really establish itself as a useful, logical and relevant sequel. 
S.O.S. Ghosts: The Legacy is a profoundly useless work. Jason Reitman fails to infuse the humor and personality of his father with the previous parts of the saga. This third chapter is completely free of emotion, and is a proposal that lacks substance and depth. The rendering is sometimes quite superficial and chains heated situations, already seen and which do not really manage to be modernized. Jason Reitman replays the card of possession and master of the keys, brings back the same great villain, replays the classic sequences of destruction with Bouffe-tout. No, overall, the filmmaker follows the specifications with his eyes closed and copies his father with a cruel lack of creativity…
A sub-Spielberg
Similarly, S.O.S. Ghosts: The Legacy lacks rhythm, intensity and punch. Jason Reitman delivers a terribly soft film, which is disembodied, emptied of all sensation and feeling. The scenario is warmed up and predictable, and nostalgia for a lost era alone is not enough for S.O.S. Ghosts: The Legacy to be a good movie. The introduction is endless, especially for an informed audience. Foreplay much too long that sets up scripted springs already established in the past, as if the feature film was amnesic, or that it was only addressed to a new generation of spectators. Basically, it's "we do exactly the same thing again but less well". 
Jason Reitman plays Steven Spielberg a bit too. He places his story far from the city, in an isolated village, close to nature, where everyone knows each other. By this process, the filmmaker sometimes distills the Spielberg method: cornfields, a gently haunted house, a team of kids like Stranger Things, a lot of nostalgia and magic, and an aesthetic that is close to the E vibe .T. But the final rendering does not really work, and gives the feeling of being a heated and lazy work.
A lazy return from the original team
Above all, the legacy of the saga is poorly managed, like the return of the original cast. Jason Reitman waits until the last moment to bring back Bill Murray, Dan Akroyd and Ernie Hudson. The tenors of the franchise are recalled with staggering laziness, without any originality, nor the slightest effort to make it believable. The trio comes out of nowhere, offers two-three valves, and evaporates as it happened. A dripping fan service, almost to vomit, who comes to elbow to wake up the spectators who are dozing off. 
Without caricaturing this return happens much like this: the young McKenna Grace calls Stantz on the phone who sends her to ball. But in the end the three friends arrive, we do not know how or why, rebiboched and ready to kick the ass of the ghosts. Then comes a strange tribute to Harold Ramis via a sometimes tendentious materialization.Jason Reitman decides to digitally recreate the actor. And since the emotion never takes completely, this forced return to computer graphics raises a terrible question: how far can Hollywood go to stage dead actors? And finally, it's mostly chilling. Thus, S.O.S. Ghosts: The Legacy is like the post-credits sequence with Sigourney Weaver: totally useless, next to the plate, uninteresting, sometimes even embarrassing humor, which justifies its raison d'être only by a dusty nostalgia… https://youtu.be/2J4Ti_WSARc
