They should have called this film “Ghostbusters: Half-life” because we now know that the time it takes to diminish the still-impressive special effects and supernatural action plus a very catchy theme song and off-beat comedy that was cynical but not snarky in the 1984 original to about one-half of the original entertainment value is officially 37 years. Jason Reitman takes over for his father Ivan (who produces) and yet somehow they manage to change what worked in the original, misuse what is new and keep only what shows us how much better the 1984 original was. I mean, how do you put Carrie Coon and Paul Rudd in a movie and not make use of their exceptional talents? How do you make a “Ghostbusters” movie and miss the cynical but not snarky vibe that was the heart of the now-classic? Let me put it this way, but first note: SPOILER ALERT (already spoiled in the trailer, so fair game in my opinion) — when characters from the original show up in this one and say, “Did you miss us?” the answer is “We still do.”

The original film was about three adult scientists played by Bill Murray, Dan Aykroyd, and Harold Ramis (the last two co-wrote the film with Rick Moranis, who also appeared in the film), who with a colleague played by Ernie Hudson start a firm that will capture and imprison ghosts and other supernatural creatures. And it captured something of the gritty In this film, it is tweens and teenagers who happen upon some of the ghost-busting equipment when a struggling single mom (Carrie Coon) inherits a near-collapsing old Oklahoma farmhouse from the estranged father who deserted her when she was a child. She moves in with her two children, !5 year old Trevor (“Stranger Things'” Finn Wolfhard) and 13-year-old STEM genius Phoebe (Makenna Grace in a lovely performance). They make friends with two local kids Lucky (Celeste O’Connor) and Podcast (because he is constantly recording podcasts), played by Logan Kim. When Phoebe takes a summer school science class with a bored seismologist (Paul Rudd as Gary) who is investigating the unusual earthquakes in the area, he recognizes some of the equipment she found in the house as belonging to the original Ghostbusters. They were so successful in eradicating the ghosts and other creatures (including the gigantic Stay-Puff Marshmallow Man) from New York that there was not much more for them to do.

You’d think Gary, knowing all this, would not want to open up the ghost-trap, but this not the kind of movie where characters behave in a logical manner because the plot requires them to do many dumb things, except when it requires Phoebe to be an expert at everything from lock-picking to analog mechanics. (She does get a little help from a friendly spirit.)

This one doesn’t come close to the original’s exceptionally deft balance of comedy, supernatural effects, and thrills, mostly because appealing as they are, the kids at the center of the story don’t have the raffish charm or gritty setting of the original team. It’s more of a Nickelodeon version (not up to the standards of Walden or Disney), and the underuse of Coon and Rudd is unforgivable. Like the Stay-Puff marshmallow creature update, this film is the pocket-size version, small in scares, small in laughs, and likely to be forgotten by the time you get to the parking lot.

Parents should know that this film has some strong language and extended fantasy/occult peril and violence as well as discussion of parental abandonment.

Family discussion: What surprising history can you learn about your grandparents? Would you listen to Podcast’s podcast? If you were going to make a podcast, what would it be about?

If you like this, try: the original “Ghostbusters” film and the under-appreciate 2016 reboot with Kristin Wiig, Melissa McCarthy, Kate McKinnon, and Chris Hemsworth

The first thing you need to know about “King Richard” is that it was produced by three of the daughters of the title character, Richard Williams, and it is an unabashed love letter to their father. And two of those daughters are tennis legends Venus and Serena Williams. Richard Williams has been a controversial character. Unconventional does not begin to cover his approach to his daughters’ careers in tennis and the royal appellation was not intended as a compliment. But no one can argue with the results of the 78-page plan he famously prepared, with step one having two more children so he could start from the beginning. “King Richard” is the story of the Williams sisters’ early years, first when they are little girls in Compton, California and then a few years later when they are being coached at a large facility in Palm Beach, Florida, ending as Venus competes at age 14 in her first professional tournament.

Will Smith plays Richard Williams, and as he did in “The Pursuit of Happyness,” playing another real-life devoted and determined father, he gives a complex, layered performance. He makes it clear that Richard’s determination is as much the result of trauma as of ambition, as much the result of frustration and resentment over the opportunities he did not have as of his commitment to making sure his daughters had opportunities, especially opportunities no one else thinks are possible.

Actors, like tennis doubles partners, need to be a team, and Aunjanue Ellis as the girls’ mother Oracene ‘Brandy’ Williams matches Smith at every turn, just as Oracene was a full partner in parenting and coaching their daughters. Their scenes together show us a deep and sometimes difficult connection, whether she is comforting him as she treats his wounds or confronting him about his failings.

We have all seen a lot of biopics, and they don’t make movies about real-life characters unless they did something big and important. And that is why those films always have some scene where the main character is either being pushed to succeed and another where he or she is being tearfully accused of neglecting an important relationship. This film is unusual because the girls, including their three older sisters (one of whom, Isha Price, also served as a producer of the film) never complain about the training and practices, even in the pouring rain. Richard is supporting them as much as he is leading them. The scenes of the family together, in their tiny Compton home or riding in the family van, are — the only word that applies is joyful. Richard and Oracene are dedicated to excellence in school and in tennis but it is clear that what matters most to them is giving their girls good values and the skills and confidence to achieve whatever they want.

Saniyya Sidney and Demi Singleton are excellent as the younger Venus and Serena, and there are solid supporting performances from everyone else in the cast including the young girls who play the other Williams sisters and the older girls who play Venus and Serena in the later part of the film. Tony Goldwyn as the taciturn Paul Cohen, a coach who agrees to take on Venus but not her younger sister, and Jon Bernthal as the more excitable Rick Macci, who brings the whole family to his training compound and puts Richard on the payroll for a percentage of the girls’ future earnings.

Smith says that seeing the video of Richard Williams protecting then-14-year-old Venus from an intrusive reporter — and the look of pride and relief on her face, the confidence that he would always have her back — had an enormous impact on his notion of what it means to be a parent. It inspired him to be both a protector and a supporter of his children’s ambitions.

Smith does not go for the easy win here. He tones down his endless charm and screen charisma and tendency to charm to let Richard shine through. In his sensitive performance, we see that Richard is damaged and vulnerable. He knows he is dealing with people who are unimaginably more powerful than he is and that they will find his manner and appearance discomfiting. These are people who like being comfortable. He knows he does not have the luxury of getting angry when they open doors he knows his daughters deserve to go through. He is insistent, not confrontational, and always polite, though he knows that holding back is demeaning and unfair. “You’re wrong but I won’t hold that against you,” he smiles, and it is a Richard smile, not a Smith megawatt grin.

Like all champions, he keeps his eye on the ball and he leads with his strengths. He did something even more important and even more difficult than raising “two Mozarts” — he raised daughters who love him enough to want the world to see him the way they do.

Parents should know that this film includes some strong language, drug references and alcohol, sexual references that are crude and predatory, and some violence, with assaults and a drive-by shooting, and some family conflict.

Family discussion: Would you want to be part of this family? What would be in your 78-page plan?

If you like this, try: “Venus and Serena,” an excellent documentary

Pixar perfectly captured the inner life of a pre-teen in delightfully concrete form, making characters of the emotions fear, disgust, joy, and sadness in the brilliant Oscar-winner “Inside Out.” This trailer for its spring 2022 film “Turning Red” looks like a variation on that theme, with a confident, capable young girl finding her newly stronger and more complicated emotions literally coming to life. Can’t wait to see it.

“Buddy! Buddy!” A boy is outside playing with his friends when he hears his mother is calling him home for dinner. He does not think anything of it except perhaps that it’s too bad the game has to stop or that he is hungry, but it is the kind of moment he will look back on as an adult as a moment of perfect safety and comfort, a time of feeling completely at home, supported by the family and the community, a feeling that the world makes sense. It is the kind of memory we come back to when we miss those feelings very much.

Sir Kenneth Branagh came back to those last golden moments of childhood, as many people did, during the Great Pause of the pandemic, when so many of us, even well past childhood, felt a new sense of uncertainty. And so he wrote and directed “Belfast,” based on those moments in his own life, when he was nine, and began to understand for the first time that the world can be a dangerous place.

He hears “Buddy! BUDDY!!” again, but this is not a “come home, where dinner is ready invitation from his mother. This is a sound of pure terror. Nine-year-old Buddy (newcomer Jude Hill) lives on what was once a peaceful street in Belfast, Northern Ireland, but it has. become a center for unrest and violence due to The Troubles, the struggle between the Catholics and Protestants.

Branagh skillfully shows us the world through Buddy’s eyes, though we understand more than he does. Sometimes that is amusing. Sometimes it is heart-wrenching. Buddy’s parents are almost impossibly glamorous and beautiful, as we see through his idealized perspective, and because they are played by the gorgeous (and Irish) Jamie Dornan (Pa) and Caitriona Baize (Ma). Also in the family are grandparents played with asperity and a twinkle in the eye by Dame Judi Dench and Ciarán Hinds.

Gorgeous black and white cinematography gives the film the quality of a timeless memory and there are flashes of color when the family sees some Hollywood movies like “Chitty Chitty Bang Bang.” Another film we get a glimpse of is more to the point, “High Noon.” Buddy’s family loves their home. But The Troubles are forcing everyone to take sides. Pa, whose travel for business has added to the strain has been offered a much better-paying job in England.

Branagh expertly mingles humor and drama, shooting us what Buddy sees but does not fully understand and the way that he gives equal curiosity and weight to all of the new information he is learning and all of the new emotions that he is feeling, including some romantic sentiments about a pretty classmate. The very gifted Hill conveys the purity of these first-time experiences with great simplicity and open-heartedness. Buddy’s story (and Branagh’s) is of a very specific place and time but the bittersweet end of childhood and beginning of deeper understandings is universal and told here with tenderness and compassion.

Parents should know that this movie includes scenes of mob violence with peril and injuries and the very sad death of a family member. Characters drink and smoke and use strong language.

Family discussion: Did the family make the right decision? If you made a movie about your childhood, what story would you tell?

If you like this, try: “The Journey,” about the two men who negotiated a resolution of The Troubles and “The Commitments,” about young Irish musicians forming a music group