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The Frighteners

The Frighteners

Horror · Comedy · 1996

Once an architect, Frank Bannister now passes himself off as an exorcist of evil spirits. To bolster his facade, he claims his "special" gift is the result of a car accident that killed his wife. But what he does not count on is more people dying in the small town where he lives. As he tries to piece together the supernatural mystery of these killings, he falls in love with the wife of one of the victims and deals with a crazy FBI agent.

Movie details

The Frighteners

“No rest for the wicked.”

1996 Horror · Comedy 1h 50m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

Once an architect, Frank Bannister now passes himself off as an exorcist of evil spirits. To bolster his facade, he claims his "special" gift is the result of a car accident that killed his wife. But what he does not count on is more people dying in the small town where he lives. As he tries to piece together the supernatural mystery of these killings, he falls in love with the wife of one of the victims and deals with a crazy FBI agent.

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 The Frighteners?

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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Where it lives

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Names above the title

The people responsible.

Directed by

Peter Jackson

Written by

Peter Jackson · Fran Walsh

Michael J. Fox

Michael J. Fox

Frank Bannister

Trini Alvarado

Trini Alvarado

Lucy Lynskey

Peter Dobson

Peter Dobson

Ray Lynskey

John Astin

John Astin

The Judge

Jeffrey Combs

Jeffrey Combs

Milton Dammers

Dee Wallace

Dee Wallace

Patricia Bradley

Jake Busey

Jake Busey

Johnny Bartlett

Court is in session

Put The Frighteners 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 Popcorn Loyalist

“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.