Netflix’s We Have a Ghost is a family-friendly horror movie haunted by its untapped potential. Possessing a solid cast, an intriguing plot, and decent special effects, it was poised to at least entertain, if not least leave a lasting impression. Alas, despite having these promising elements, We Have a Ghost is a little more than a middling movie wrapped in an interesting idea.
Given that We Have a Ghost was directed by Christopher Landon, who – with the help of talented writers – has maintained a successful track record in horror-based comedy, its mundane treatment is notable. Its plot has good bones, at least: Based on Geoff Manaugh’s short story “Ernest,” its foundation is composed of interpersonal failings and ill-advised aspirations showcased by a strained father and son relationship. A troubling situation made believable thanks to some solid acting by Anthony Mackie and Jahi Di’Allo Winston.
Mackie captures the prideful father figure in his portrayal of Frank, and he and Winston – as his son Kevin – play well off of each other. Constantly in search of new opportunities to provide a better life for his family, he seems to really not understand why Kevin can’t get over his misgivings about his latest get-rich-quick scheme. In reality, Kevin’s issues run much deeper than that, but Frank’s inability to listen when confronted forces him to retreat inward. Winston excels at conveying this side of Kevin by turning what could be perceived as a perpetually dreary demeanor into a relatable means of avoidance. Their cold glances and verbal jabs give the allusion of a long standing feud; there’s chemistry here, even if it’s based on mostly negative emotions.
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The same can be said of David Harbour’s take on Ernest, the titular ghost. Unable to speak, most of his emotions are conveyed via facial expressions and body language. And while his presence escalates the familial drama in an expected way, several heartfelt moments only succeeded off of the strength of his emotive skills. The special effects governing his ghostly body don’t do much to differentiate this role from that found in similar films like The Frighteners and Ghost, but Harbour’s acting is good enough to warrant some praise. The rest of the cast should also be well received; Isabella Russo, who portrays Joy (Kevin’s friend) is charming while Tig Notaro’s role of government agent turned ghostbuster is decent.
We Have a Ghost is centered on the generational conflicts that can arise between parents and their children. This initial dispute, along with its supernatural conundrum, give way to some weighty themes: the impact of harmful stereotypes, what it means to feel othered by loved ones, and the detrimental aspects of absent fathers regardless of the circumstance leading to their departure (both mentally and physically) are all hinted at. It’s a promising start as the stakes are seemingly raised beyond the difficulties associated with living in a haunted house.
Sadly, We Have a Ghost struggles to say anything meaningful about the topics it brings up. Most are presented during key scenes before taking a back seat to the overarching plot. Kevin’s concerns about his station within his own family, for instance, are overshadowed by his desire to help his new friend Ernest recover his memories. Their plights are relatable – the motivating factor being that they both feel trapped in their current predicaments – but only one of them ever really addresses their problems. That’s not to say that Kevin doesn’t come out the other end of this adventure in a better state, just that the issues he faces are tidied up rather than resolved – which, in turn, flattens the story’s potential impact.
It’s all played so safe, which wouldn’t be a problem if it was funny. Netflix has deemed this a horror comedy, but while a bout of laughter would have gone a long way to salvage the shallower portions, most of the jokes fall flat – or worse, are just plain awkward. If it wasn’t for the ghostly performance by Harbour, in which he contorts his body in horrific fashion before “removing” his face, the cameo from a currently very popular actor would have been a wasted opportunity. Outside of a few choice lines and forced social media references, the comedy boils down to folks screaming and running about whenever Ernest shows up.
Most of the onscreen happenings are rendered forgettable due to a formulaic approach that sidesteps the more interesting aspects of any given event. And since there isn’t much in the way of humor, there’s also nothing to balance out the mundane.