Nostalgia creates a need for good things to happen all the time. In entertainment, it's about recapturing that initial feeling which generated such buzz. What's the difference between a composer being creative or merely precocious? With the former, it's like a dance where one party leads while the partner follows. In music, we must follow and everything should progress in harmony and trust. However, a deeper problem persists. Regardless of budget or viewer interest, sequels and reboots have consumed the industry. Few are taking chances to go out on a limb and craft something fresh. It's safer to obey the formula.

Regarding the Ghostbusters franchise, there have been remarkable deviations in the musical architecture. For Ghostbusters 2, composer Randy Edelman came up with new themes. Although Elmer Bernstein's 1984 effort was rather spooky, one could argue it was overshadowed by Ray Parker Jr's title song. In terms of melody, there's no comparison. As for the 2016 reboot, Theodore Shapiro would summon elements from the song, while developing a unique, apocalyptic slant of his own.

Now, early trailers for Ghostbusters: Afterlife seemed underwhelming. So expectations for Rob Simonsen's music were muted. Doubting that originality would be the guiding principle, what emerged was a nostalgic heap of well worn tropes. Even the connective tissue failed to stand out in any way, especially when compared to the 2016 release. In particular, the woodwinds and Ondes Martenot -- a carryover from Bernstein's score -- prove to be unconvincing.

I knew of Simonsen's work from Nerve, an entertaining production though his electronic and ambient soundtrack escapes my recollection. For Ghostbusters: Afterlife, he decided to reconfigure Bernstein's themes with some minor additions. However, Parker Jr's song only appears during the credits, and not on the official soundtrack release from Sony Classical. 

Simonsen's decision to bring back Bernstein's themes has been applauded throughout social media and the Internet. Yet the lack of any personality in his music makes such mimicry narrow-minded. How does he convey fear, hope and epiphany? He doesn't. Actually, "Trapped" has to be the most perplexing, nondescript and placid experience of 2021. 

By contrast, I believe Shapiro perfected the contrast between the pre-existing thematic building blocks and his own constructs. As such, his underscore reflects personal reactions to the footage rather than developing an artificial premise. Therefore, his orchestrations are wildly creative and dazzling in their immersion.

If a composer doesn't possess original talent, it's not enough to imitate someone better. As such, grating high notes open "Dirt Farm" before tones reminiscent of John Williams flutter and flake. Personally, I don't wish to hear a composer citing all their references and preferences. Individual quirks matter more. With Ghostbusters: Afterlife, where's the point of view? I am not hearing Simonsen's emotional reactions to this story. While the effects come across as nice and clean, where's the appeal? That's why composers such as Dario Vero and Naoki Sato remain fearless because their personal experiences empower the music. Common chords are struck, and the music ventures deeper than normal.

Bizarrely, "Go Go Go" borrows heavily from the moment in Ghostbusters where Louis Tully (Rick Moranis) ends up chased by "the dog." Musically, it's almost an exact clone. If Simonsen wants to promote fan service, next time try a little more Ray Parker Jr and a little less Elmer Bernstein.

I give Ghostbusters: Afterlife by Rob Simonsen two out of five stars.

"Nostalgia belongs in a museum."

-- Larry Sokolov (Ron Livingston) in The Cooler