New Movies On Demand: Ghostbusters: Afterlife, Last Night In Soho, A Mouthful Of Air + More

Where to Stream:

Ghostbusters: Afterlife

'Ghostbusters: Frozen Empire' Only Exists Because Gen X Can't Let Go of '80s Culture

Leslie Jones "Got Paid Way Less" Than Her 2016 'Ghostbusters' Co-Stars Melissa McCarthy and Kristen Wiig: "My First Offer Was For $67,000"

Harrowing ‘A Friend of the Family’ Trailer Debuts First Look at Peacock’s Latest True-Crime Series

What to Watch When You Finish 'Stranger Things'

After years of delays, Ghostbusters: Afterlife, the latest film in the franchise, is out on VOD this week. While the film offers a new take on things and a new cast that includes Carrie Coon and Paul Rudd, there are references galore to the original, as well as cameos from, well, almost everyone who was in the first film. And if you want a clever segue, let’s say Last Night In Soho, available for purchase on VOD this week, is another film that dredges up ghosts from the past. Edgar Wright has directed a beautifully stylized film about a mysterious and glamourous woman from the 1960s (Anya Taylor-Joy) who starts haunting the dreams of a college student (Thomasin Mackenzie), first as a muse, and then as a nightmare. It’s a terrifying but satisfying watch.

And for something a little more grounded in reality, but no less troubling, Amanda Seyfried and Finn Wittrock star in A Mouthful Of Air, based on the novel by Amy Koppelman, who also directs the film. Seyfried stars as a children’s book author named Julie who has a sweet new baby with husband Ethan (Wittrock), but she’s also facing terrible despair, consumed by depression and feelings of inadequacy, which lead her to a suicide attempt. Movies that try to portray depression and suicide realistically can be hard to watch, and A Mouthful Of Air doesn’t shy away from depicting true despair and trauma. But we’re in a time where people are finally speaking their truths about mental health and post-partum depression in particular, and it’s about time we normalize these conversations and see them represented on screen.

These are just a few of the titles that are available to watch on Amazon Prime Video, iTunes, YouTube, and through your cable service this week. Check out what movies are available to buy or rent on demand now!

Ghostbusters: Afterlife

Ghostbusters: Afterlife, the second reboot of the beloved Ghostbusters franchise after Paul Feig’s 2016’s version, is the kind of sequel that manages to pay homage to the original while also turning the story into something entirely new. This story goes that our beloved OG Ghostbuster, Egon Spengler, who was played by Harold Ramis who passed away in 2014, was killed by a ghost after he retired to Oklahoma after his days spreading ectoplasm and StayPuft marshmallow goo all around New York City. Spengler’s daughter and grandkids (Carrie Coon, Finn Wolfhard, and McKenna Grace) move to his run-down Oklahoma farmhouse and discover all his gear from the good old days, which comes in handy because something strange is afoot in their new town. Something ghostly. With the help of the kids’ science teacher, Mr. Grooberson (Paul Rudd), they take on the ghosts that are invading their town, and lucky for us, the remaining original Ghostbusters (as well as Annie Potts and Sigourney Weaver) show up at the end just to bring the whole thing full circle.

Where to stream Ghostbusters: Afterlife

Last Night In Soho

If you loved Edgar Wright’s first horror film, Shaun of the Dead, you, um, might also like Last Night In Soho, but it will not be what you’re used to from the director. I love both films, but they couldn’t be more different in tone, despite both of them playing up the Suspiria-like red-tempera-paint bloodbaths. Where Shaun was a romantic comedy wrapped in a zombie horror movie, Last Night In Soho is a feminist commentary wrapped in a fever dream with a swinging-Sixties aesthetic. Ellie (Thomasin Mackenzie) is a young fashion design student living in a London flat, and every night when she goes to bed she dreams (or is it a dream?) that she’s assuming the identity of an aspiring singer named Sandie (Anya Taylor-Joy) in the mid-1960s. Ellie is inspired by Sandie’s bold image and personality and begins to replicate it in real life, until Sandie’s world turns into a nightmare of abuse and terror, which creeps into Ellie’s real life too. It’s hard to explain how Wright conveys this straddle between two worlds, but he does it well, using music and vibrant color to punctuate the story, which often plays out in very unexpected ways.