We have a Ghost

We Have a Ghost is a Netflix family comedy horror film that, unfortunately, falls short of the mark set by writer-director Christopher Landon's previous works, such as Happy Death Day, Happy Death Day 2U, and Freaky. While these earlier films were not perfect, they were creative and played around with genre conventions in a way that made them fun to watch. We Have a Ghost, on the other hand, feels constrained by convention, never quite audacious or unhinged enough to stand out. The film has its moments of fun, but it ultimately feels like a missed opportunity.

The story follows the Presley family, as they move into a new home in Chicago. Unbeknownst to them, the house is haunted by a ghost named Ernest, whom Kevin discovers hiding in the attic. Kevin's scheming father, Frank, sees an opportunity to turn Ernest into a content machine that will bring them fame and fortune. Kevin's only ally in figuring out what to do with Ernest is his new friend, Joy. As the story progresses, the broader world soon becomes aware of the ghost, and chaos ensues.

While We Have a Ghost draws from the short story "Ernest" by Geoff Manaugh, it also stretches the narrative into its own silly and sentimental directions. Unfortunately, the film feels more like a "one for them" project than a passion project. It lacks the madcap energy and genre panache that we've come to expect from Landon's work.

That being said, the cast does a commendable job, and the film features fun characters such as Jennifer Coolidge's chaotic Internet medium and Tig Notaro's sarcastic paranormal scientist. However, the film's attempts at humor start to feel strained by the faux sentimentality that courses through everything. The emotional beats feel forced and unnatural, lacking the natural silliness that characterized Landon's previous films.

The film's biggest issue is that its best assets feel drawn from far more successful horror comedies of the past. Works like Beetlejuice and Extra Ordinary have done this infinitely better, leaving We Have a Ghost feeling dull and lacking in wit and charm. While the film may keep younger viewers entertained with its mystery, car chases, and other shenanigans, those looking for something more in line with Landon's prior work will likely be disappointed. Even when the film sounds like it would be wild on paper, such as when Ernest launches himself through walls or into speeding cars, it carries only the smallest spark of fun. These moments feel increasingly fleeting, truncated in how they are haphazardly cut together, and all but extinguished.

We Have a Ghost is an odd experiment in competing visions, with the source material focused on deeper themes than the spectacle of slapstick that this film offers. While it is always classic to see an invisible being manipulating matter and throwing things around, there is a general absence of creativity in how these sequences are constructed. Once the characters hit the road about midway through, it starts to feel like the film is running out of ideas about what they can do.

In the end, We Have a Ghost feels like a missed opportunity. With a talented cast and a promising premise, the film should have been a fun and creative horror comedy. Instead, it falls short of its potential and feels like a forgettable entry in the genre. While there are certainly moments of humor and entertainment, they are overshadowed by a lack of originality and a sense of creative restraint. Overall, if you're looking for a light and harmless horror comedy to pass the time, We Have a Ghost may be worth a watch. However, if you're a fan of Christopher Landon's previous work or hoping for something truly unique and innovative, you may want to look elsewhere. Hopefully, this film will serve as a learning experience for Landon and lead to more daring and inspired projects in the future.

In conclusion, while We Have a Ghost is slightly better than other similar offerings on the streaming service, it still lacks the creative spark that would make it stand out. It's a shame that Landon's latest work feels like a missed opportunity, as it never quite makes the extra leap it needs to be audacious or unhinged enough to truly let loose. One can only hope that this film leads to Landon getting the chance to return to making more unrestrained films that fully embrace a darker absurdity.