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Mostly Ghostly

Mostly Ghostly

Family · Fantasy · Horror · 2008

Based on the successful book series by R.L. Stine, this spooky tale finds 11-year-old Max making a deal with the ghosts who haunt his home. If Max helps them find what was responsible for their parents' disappearance, they'll help him transform from a social nobody to the most popular kid in school.

Movie details

Mostly Ghostly

“From the creator of Goosebumps!”

2008 Family · Fantasy · Horror 1h 33m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

Based on the successful book series by R.L. Stine, this spooky tale finds 11-year-old Max making a deal with the ghosts who haunt his home. If Max helps them find what was responsible for their parents' disappearance, they'll help him transform from a social nobody to the most popular kid in school.

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 Mostly Ghostly?

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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Snow Queen

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Anastasia Romanov escapes through a portal when her family is threatened by Vladimir Lenin, and she finds herself in the year 1988, befriended by a young American girl.

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Names above the title

The people responsible.

Directed by

Rich Correll

Written by

Rich Correll · Pat Proft

Madison Pettis

Madison Pettis

Tara Roland

Sterling Beaumon

Sterling Beaumon

Max Doyle

Luke Benward

Luke Benward

Nicolas "Nicky" Roland

Brian Stepanek

Brian Stepanek

Phears

David DeLuise

David DeLuise

John Doyle

Kim Rhodes

Kim Rhodes

Harriett Doyle

Adam Hicks

Adam Hicks

Colin Doyle

Court is in session

Put Mostly Ghostly on trial.

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

The defence The Sentimental Softie

“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 Big-Idea Head

“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.