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.
Back to trending 
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.
Scores change. Arguments endure.
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?
For the defence
The Arthouse Gremlin
“The stranger, the better.”
Read their case For the prosecution
The Prestige Tourist
“You like your greatness pre-approved.”
Read their objectionThe 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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Once Bitten
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Extra Ordinary
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The Witches of Eastwick
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The Voices
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Where it lives
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Names above the title
The people responsible.
Cast & crew
Directed by
Neil Jordan
Written by
Neil Jordan
Peter O'Toole
Peter Plunkett
Daryl Hannah
Mary Plunkett
Steve Guttenberg
Jack Crawford
Beverly D'Angelo
Sharon Brogan Crawford
Jennifer Tilly
Miranda
Liam Neeson
Martin Brogan
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 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.