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High Spirits

High Spirits

Fantasy · Comedy · Horror · 1988

When a hotelier attempts to fill the chronic vacancies at his castle by launching an advertising campaign that falsely portrays the property as haunted, two actual ghosts show up and end up falling for two guests.

Movie details

High Spirits

“He's an American. She's a ghost. Vacation romances are always a hassle.”

1988 Fantasy · Comedy · Horror 1h 39m

Critical arithmetic

One number, for now.

TMDB

5.8 / 10

Community rating

When a hotelier attempts to fill the chronic vacancies at his castle by launching an advertising campaign that falsely portrays the property as haunted, two actual ghosts show up and end up falling for two guests.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over High Spirits?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Angela, the hostess from hell, summons her army of teen demons when teenagers from St. Rita's High School decide to party at the haunted Hull House on Halloween.

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Boyfriends Josh and Rohan plan a weekend getaway to introduce their parents, only to discover that their rental is home to an ancient demon.

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Where it lives

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Names above the title

The people responsible.

Directed by

Neil Jordan

Written by

Neil Jordan

Peter O'Toole

Peter O'Toole

Peter Plunkett

Daryl Hannah

Daryl Hannah

Mary Plunkett

Steve Guttenberg

Steve Guttenberg

Jack Crawford

Beverly D'Angelo

Beverly D'Angelo

Sharon Brogan Crawford

Jennifer Tilly

Jennifer Tilly

Miranda

Liam Neeson

Liam Neeson

Martin Brogan

Peter Gallagher

Peter Gallagher

Brother Tony

Court is in session

Put High Spirits on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.