As common as the yuletide traditions of decorating a tree, sending holiday cards, and stressing out about gift giving, there is adapting Charles Dickens’ classic novella “A Christmas Carol.”
The iconic story of a miserly Scrooge whose surprise intervention by a trio of ghosts transforms him from jerk to jolly has inspired period dramas, contemporary comedies, and even a mash-up with Muppets. The latest spin on this timeless tale of redemption is Spirited, which not only gives us a bit of now and way-back-when, but also musical numbers, and comedy from the likes of Ryan Reynolds and Will Ferrell. This sounds like a splendid recipe for spicy seasonal fun. So why does this romp leave a bad taste in my mouth, as if it’s rancid eggnog?
Apologies for bah-humbugging the anticipation you might have for Spirited. Please know, if anyone should have been an easy mark for adoring this movie, it should have been me. Every year, as soon as the jack-o-lanterns have rotted, I’m in full Christmas mode, which includes marathoning various versions of “A Christmas Carol” with greedy abandon. Be it Scrooged or The Muppet Christmas Carol or The Man Who Invented Christmas, I love this story's blend of horror, holiday, and happy ending. The addition of two crackerjack comedic actors and the gravy of energetic musical numbers made this movie one of my most anticipated of the year. But on every level, this adaptation disappoints.
What’s Spirited about?
Will Ferrell stars as the Ghost of Christmas Present, who is dedicated every December to converting someone from sinister to saintly. But he faces a potentially insurmountable challenge with professional spin doctor Clint Briggs (Ryan Reynolds), whose cynical worldview and menacing manipulations turn the tables on this annual redemption attempt. Joining Present on his noble quest is a chic Ghost of Christmas Past (Sunita Mani), a goofy Ghost of Christmas Yet-to-Come (voiced by Tracy Morgan), a crotchety boss (Patrick Page), and Clint’s good-hearted assistant (Octavia Spencer).
Spirited fails as a musical marvel.
A workplace comedy, Spirited thrusts audiences into the behind-the-scenes of the business of the Ghosts of Christmas Past, Present, and Yet-to-Come. Turns out these Christmas Eve trips aren’t so much about time travel or manipulating dreams as they are touring problematic “perps” through elaborate re-creations of their memories and potential paths. So, a whole year is gone into research, building sets, scripting, and blocking scene transitions. To the credit of screenwriters John Morris and Sean Anders (who also directs), this is an inventive spin, giving a playful showbiz element to the standard spectacle of mind-bending journeys through Scrooge’s timeline. Bits — like stagehands rushing on furniture — are amusing. But the bigger impact is that this theater-kid vision of the afterlife means musical numbers — with original songs from The Greatest Showman’s Benj Pasek and Justin Paul — are a common affair.
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It’s a festive thrill to see a bunch of office workers/spirits leap into elaborate dance numbers, bringing a bit of Broadway to the screen with their masterful timing and unflagging enthusiasm. And these flights of fantastical choreography — courtesy of Chloe Arnold — extend into memories and the modern moment, giving opportunities for supporting players to shine. Academy Award-winner Spencer belts powerfully in a number about reflection, while Mani not only nails her horny jokes but also dazzles as she sings and dances with radiant swagger.
While Reynolds and Ferrell aren’t known for their singing or dancing, both actually come off really well, even in a tap number. They’re not up to the level of those around them. But this isn’t La La Land, where we’re supposed to believe they’re elegant and impeccable. Since the numbers are in part comedy, it’s kind of like karaoke: Showmanship and commitment to the bit make up for a deficit of skill.
Unfortunately, Anders lets all of these performances down with direction that is absolutely vexing. Repeatedly, he favors medium shots that cut dancers off at the waist, losing the fancy footwork that might mesmerize. His moving camera whisks by the choreographed company too quickly, not allowing us to savor their mastery of motion. And somehow, though there are layers of action, the depth of field feels squished, the setting flat and fake. Perhaps here the artifice established in the behind-the-scenes concept undercuts the visual splendor of what could be incredible dance numbers — if only we could see them in full.
Spirited falls short as a holiday comedy.
There’s a jarring conflict within this movie’s content. On one hand, Anders and Morris seem eager to make something family-friendly, so they carefully avoid the word “shit” by repeatedly having characters be comically cut short from saying it. On the other hand, Present and Clint repeatedly use “dick” and “prick” as insults, and sing a whole song where the intention of "fuck off" is coated in a snarling “Good Afternoon.” Jokes about sex are tame so they might fly over children’s heads like reindeer. But suicide is used as a jolting plot point. It’s confounding where Spirited’s makers draw the line on what fits their PG-13 mold.
Considering the pair built their reputation with R-rated comedies like We’re The Millers and Horrible Bosses 1 & 2, this struggle might make some sense. But within this movie, they mention Scrooged (“the Bill Murray movie with Bobcat Goldthwait”), a 1988 adaptation of “A Christmas Carol” that managed to be pack in adult jokes about sex work, death, and Richard Pryor’s catastrophic use of hard drugs. Despite making two PG-13-rated Daddy’s Home movies, Anders and Morris can’t find their own footing in Christmas comedy with an edge. They present a chaotic collision of ironic capering, grim plot twists, and jokes about HR, gender reveal parties, and Karens, which all feel seasons too old to delight. Not even the combined forces of Reynolds and Ferrell’s charisma can make such tedious punchlines sing.
Spirited gifts us no proper terror.
Not every re-imagining of “A Christmas Carol” is sort of scary, but the best ones have their moments! Here, only one single scene offers some satisfying eeriness, where the classic image of Jacob Marley comes in, dragging his chains, and bellowing of doom. But the creepiness is immediately undercut for laughs in a bit that overstays its welcome. (And sadly, it is one of many, as this comedy clocks in over two hours.)
Even the Muppets gave us a scary vision of mortality with their Ghost of Yet-To-Come. But Spirited gives us... Tracy Morgan. Admittedly, this is a fun and unexpected new angle on the Grim Reaper figure. And I’ll grant that this intentional undermining of the scariness in that required graveside scene is a bold move that makes for some surprisingly silly moments. But this fiddling with the third act leads to a happy ending that is sure to infuriate more than just me.
Maybe it’s a matter of expectations. As someone who loves movie musicals, I expected Spirited to showcase its dancers in their moments of glory. As a fan of holiday comedies, I expected Spirited would make me laugh and fill me with joy. And as a devotee of movies that blend holidays, humor, and horror (love you, Krampus) I hoped wacky wrapping might give way to a twisted yet undeniably entertaining genre mash-up. I expected a movie that combined the star power of Reynolds and Ferrell to deliriously hilarious effect. But this isn’t Deadpool meets Elf, as I might have dreamed.
In the end, Spirited is a good-on-paper concept that is frustratingly flubbed with lackluster punchlines, confounding cinematography coverage, and an inept execution that sours what should have been sensationally sweet and salty.
Spirited comes to Apple TV+ Nov. 18.
