I’m as a big a fan as anyone when it comes to the terrain of iconic classics, especially a property that is so beloved like “Ghostbusters” (I mean, who isn’t?) So, for those online trolls, which have nothing better to do then mozy around social media (and other popular sites like IMDb) to tarnish the new female led-reboot of the same name, for the sole reason being the new cast has been reimagined with women, get a life. The misogynistic jabs at director Paul Feig and the cast is uncalled for, a motion picture should not be judged on the merits of how it tries to be different, the bigger (and the most important) question should be, is the movie funny? Well, when you have the two comic heavyweights in the form of Kristen Wiig and Melissa McCarthy, it would be hard for anyone not to laugh. Combine that with the Paul Feig formula, throw in an established franchise with a loyal fanbase, and we get a decently energized reboot that is just as much a homage to the original, as it is an updated vehicle for the next generation of Peter Venkman wannabees.

Of course, this updated “Ghostbusters” may feel too much like it’s cut from the same cloth. Struggling to find balance in how it wants to be a satisfying entry to what Sony hopes to be a franchise starter. The PG13 laughs come in full force, with McCarthy herself restraining from the normalcy of F-bombs - (the kind of improv that would be allowed with Feig’s much better comedy hybrids like “The Heat” and “Bridesmaids”) - that she has grown accustomed too. At times, you almost want to see her break off into a rant that drops a few curse words, but the movie plays it safe, as it does not wish to offend anyone under the age of 14. A safe bet, as families will surely want to flock to share in the experience of nostalgia with their younger ones, who should have no trouble soaking this world in.

If you happen to find yourself drawing parallels from the classic, don’t worry it’s not just you. Most of the baby boomers from before, may find it hard to like the newer entry (and I can see why) as the timing between the oldies (Bill Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson) and the newbies (McCarthy, Wiig, Kate McKinnon, and Leslie Jones) aren’t nearly in the same ballpark. The story is about as shot-for-shot as you may expect (more so than I wanted) as the film opens with a very effects driven sequence, before introducing audiences to three scientists who’ve jeopardized their entire career by believing in the unknown. Like Venkman before her, Wigg’s tenure-track Erin Gilbert is the brainiac residential skeptic of the group, while McCarthy and McKinnon as the two labmates Abby Yates and Jillian Holtzmann - look and sound like a bunch of weirdos on drugs. Once the trio is banned from their respective universities, they have no choice but to move out and start fresh. They find sanctuary in a nearby cul de sac above a chinese restaurant, and a winning receptionist in the form of Kevin (a very game Chris Hemsworth). One of the more inspired gags in the film, involves Erin’s sexual innuendoes towards the hunk of “Thor” fame, but his character is so dimwitted that he doesn’t know he is being objectified. The gang adapts roughly the same costumes, logo, and Ecto Mobile (a converted hearse) much like their counterparts did in the original.

At first, the sole purpose is for the ladies just to get the recognition that ghosts exist and search every nook and cranny within the confines of New York City, looking for sightings of the paranormal. Including that of one MTA worker named Patty (Jones) who leaves her job in favor of suiting up alongside the brigade of scientists. Much like clockwork of the original, the quartet bands up to face a wave of unstoppable forces, threatening to thwart mankind completely. This is where nostalgia can only go so far.

Paul Feig, who is skilled in his niche of raunchy comedies, seems like a big league player now with a budget that he probably has never seen before. Yet, like an adult telling a kid with his new toy, sometimes you have to hold back and ease into it first. We understand the need for flashy incentives to guide our attention spans, but sometimes it felt overstuffed and too chaotic to be silly. One of the many times, in which, “Ghostbusters” tries to be updated is in the use of digital effects, which shows the ghost’s in a much, scarier form then we are used to. Unlike Ivan Reitman’s iconic classic where the ghosts kind of just helped the cast spurt off witty one-liners, here Feig genuinely terrifies with his strategic use of camera angles, and creaky door knobs.

There is still no question that the heart of the film is a comedy, which it is. McCarthy is just restrained enough, although she falters dangerously close to her normal schtick, to hit her comic timing. While, not to my surprise, McKinnon and Jones get the film’s better moments. McKinnon in particular is a riot for most of the film, as she deviously concocks new gizmos for the squad to use throughout the film. Meanwhile we do get a slew of recognizable cameos that will plaster a rewarding grin on your face, that sticks with you until the end.

Turns out, a nice gender swap wasn’t the worst casting decision of the last five years (like most online zealots believed.) I only wish, however, the movie was as funny as the stars which headlined it. Often times, I found myself more invested in the visuals (complete with a subversive digital 21st century update of the Slimer) - than the gags. Which, in this case, was fine because that wasn’t necessarily a tough feature to beat, as the original came out at a time when technology was lacking. The ending is a blast to watch, as we see plasma rays of CGI destruction unfold around us, with a few monsters that won’t go unnoticed. Those moments are the key to solidifying the one thing these filmmakers were trying to embody: having fun. B