The haunted becomes the haunter.
Finding new spins on Charles Dickens’ A Christmas Carol is a tradition as old and as played out as the novelty Christmas tie or a satsuma at the bottom of the stocking, often as welcome as that awful jumper from your great auntie who has knitted her way through your childhood gifting occasions and shows little sign of changing tack now. Spirited, a boisterous musical adaptation – although making it a musical is hardly an innovation at this point – takes a bolder swing at updating the classic tale for a modern audience with a novel approach, flipping the Dickensian narrative on its head by focusing on the haunters rather than the hauntee.
Directed by Sean Anders and starring Will Ferrell and Ryan Reynolds, the film injects the timeless story with a sharp dose of humour, catchy tunes, and a surprising amount of heart, though it occasionally struggles under the weight of its own ambition and lack of discipline. But then again, what is Christmas for if not the abandonment of discipline and restraint?
Ferrell stars as the Ghost of Christmas Present, part of a celestial team dedicated to redeeming one human soul every Christmas. It’s a return to festive fun for Ferrell, whose turn as Buddy in Elf cemented his place in the Christmas movie pantheon and role as Brad in Daddy’s Home 2 kept his holiday hand in. But when he targets Clint Briggs (Reynolds), a ruthless and amoral media consultant, he finds himself facing a subject who might be beyond saving—or might just have something to teach him about his own unfinished business.
Ferrell and Reynolds bring their signature comedic styles to the table, creating a dynamic that’s as playful as it is unpredictable. Ferrell imbues Present with an earnest, slightly bumbling charm, while Reynolds excels as the smug, quick-witted Briggs. Their back-and-forth is peppered with sharp one-liners and moments of genuine vulnerability, anchoring the film’s more chaotic elements. Neither of them step outside of their comfort zone, but then what is Christmas for if not a time to indulge in comfort?
Spirited is far from a two-man show, though. Octavia Spencer provides a grounding presence as Kimberly, Clint’s loyal yet long-suffering right-hand woman. Her nuanced performance brings warmth and humanity to the narrative, serving as a counterpoint to the chaos created by Ferrell and Reynolds. Sunita Mani, as the Ghost of Christmas Past, adds a quirky and playful edge, while the Tracey Morgan-voiced Ghost of Christmas Yet to Come injects an irreverent dose of humour into what is usually the story’s darkest figure.
The musical numbers, penned by Benj Pasek and Justin Paul (La La Land, The Greatest Showman), are vibrant and energetic, ranging from toe-tapping showstoppers to introspective ballads. Highlights include the hilariously self-aware “Good Afternoon” and the uplifting “Unredeemable,” which offers a welcome moment of emotional sincerity. While not every song lands with equal impact, the overall soundtrack adds a buoyant layer to the storytelling.
Visually, the film dazzles with its richly detailed sets and larger-than-life, and occasionally spectacular, choreography. The afterlife headquarters of the ghosts is a standout, blending whimsical design with a bustling, bureaucratic atmosphere. Meanwhile, Clint’s redemption journey takes him through both fantastical recreations of his past and satirical snapshots of modern excess, creating a visual tableau that keeps the oh-so-familiar narrative fresh, especially in its resolution.
Some of Spirited’s undeniable energy is dissipated by its pacing and at over two hours, the film occasionally drags, particularly in its second act, where the balance between comedy, music, and heartfelt moments can feel uneven. Additionally, while the film’s meta-humour and modern updates are clever, they—and the two stars’ fondness for freewheeling ad-libs and improvisation—can sometimes veer into overindulgence, risking the emotional resonance of the story. But then again, what is Christmas for if not overindulgence?
