Haunted Mansion (2023)

The critic finds the reboot channels the ride's illusions effectively in a fairly compelling story with decent laughs, though VFX disappoint. He singles out the script's emotional foundation for grief and relationships as better than expected.

The film handily invokes the campiness of the iconic Disneyland attraction if not its kinetics and settles into an enjoyable groove thanks to the cast's camaraderie. The critic singles out the set pieces and cast chemistry for praise but complains that the script drowns in exposition and the attempts at pathos are too flimsy.

Justin Simien brings some big ideas to a tween-friendly horror-comedy that finds the right tone but never the right shape. The critic singles out the attempt to incorporate big ideas and emotional threads for praise but complains that the film lacks the right shape overall.

The critic calls the film a so-so, creaky comedy of manors that is rickety and silly-sinister but runs too long and lacks scares or strong laughs. He singles out the callbacks to the ride and the cast's efforts amid the corporate reboot fatigue.

LaKeith Stanfield shines but the rest of the cast barely commits and the film feels like the most calculated of corporate products. The critic singles out Stanfield's grounded performance and New Orleans diversity for praise but complains about the lack of tension, pacing, and coherent tale.

The movie is not scary enough to be proper horror or funny enough to be comedy, with convoluted plotting and unconvincing CGI ghosts, but the cast's chemistry gives it some charm and heart.

Disney’s new Haunted Mansion is a hot mess but sporadically entertaining. The critic singles out the growing paternal bond between Ben and Travis and Simien's touch for praise but complains that the movie has no core and wastes its potential.

The critic finds the film scattered and more product than story despite a fine cast and some sweet moments on grief. The ensemble and certain relationships are praised, but CGI, product placement and editing issues draw complaint.

It is called a fairly lifeless exercise hampered by a script that fails to balance funny, spooky and earnest tones, plus major pacing and atmosphere problems. Some mildly amusing scenes and cameos are noted positively.

The spooky theme-park spin-off has some well-rigged scares but the plot is creakier than the floorboards and it is grindingly overlong at over two hours. The script feels reworked to the point of structural collapse despite not being as dreadful as the 2003 version.

The film is neither funny nor deep despite its ambitions around grief and other issues, suffering from dreary VFX, limp jokes and implausible twists. It only gels in one quirky sequence with Winona Ryder.

Despite an appealing cast and some nicely executed moments, the film is mostly a dispiriting experience that drains the ride's simple pleasures in favour of action spectacle and strained humour.

The film is a grimly efficient IP cash-in devoid of scares, with a hot-pink palette and distracting product placements defusing any tension. It wastes a cast including LaKeith Stanfield and Rosario Dawson on a thoroughly plundered property with little new inspiration.

The critic finds the film a dull, feature-length Disney promotion with little to say beyond its theme-park origins. She singles out the appealing cast hitting their marks but notes the dispiriting direction by Justin Simien.

The film is described as a forgettable ghostly ride to nowhere that sheds goofy charm for a solemn grief subplot and unconvincing effects. It could have been directed by anyone, with few genuine monsters or thrills.

The film is routine entertainment that should please less discerning youngsters eager for silly summer fun. The critic singles out the visually dazzling combination of CGI and practical effects for praise but complains that the over-two-hour experience feels wearisome.

The film is a charming and delightful adaptation that captures the spirit of the ride through its strong ensemble cast and evident affection for the source material. Simien and writer Katie Dippold blend ride elements into a fun, entertaining story that honors the original while adding its own tone.

This adaptation succeeds as a proper film rather than mere IP translation, delivering a light, family-friendly ghost story with occasional spookiness and real emotional poignancy about grief. Simien emphasizes production details for Easter eggs while developing distinct characters and environments.

The film revels in theme-park references and in-jokes, committing fully to the ride's details in a way that makes it a solid, enjoyable movie despite occasional overindulgence. It stands as the anti-Pirates approach, embracing its origins for a grim, grinning delight full of atmosphere and nods.

The critic finds the film surprisingly enjoyable and unnerving for a Disney release, praising inventive references to the theme park ride and a committed ensemble led by LaKeith Stanfield. The main complaints concern uneven shifts between comedy and scares plus a miscast Jared Leto as the Hatbox Ghost.

The film is a generic, innocuous Disney movie that is spooky enough for kids but shallow and forgettable for adults. It earns points for ride callbacks and a game cast but is ultimately aggressively okay.

The critic finds the film a haphazard tour that misses emotional depth despite promising start and faithful production design. They complain about the conventional script and Stanfield’s mismatched dramatic performance, while noting some fun for ride fans on home viewing.

The critic praises Simien’s film as a wondrous blend of horror and comedy with emotional resonance about grief, anchored by LaKeith Stanfield’s phenomenal performance. They single out the loving rendering of the ride’s elements and Stanfield’s subtle, soul-searching lead turn for praise.