After three centuries, three witch sisters are resurrected in Salem, Massachusetts on Halloween night, and it is up to two teenagers, a young girl and an immortal cat to put an end to the witches' reign of terror once and for all.
Sarah Jessica Parker,
The scientist father of a teenage girl and boy accidentally shrinks his and two other neighborhood teens to the size of insects. Now the teens must fight diminutive dangers as the father searches for them.
When his parents have to go out of town, Dennis stays with Mr. and Mrs. Wilson. The little menace is driving Mr. Wilson crazy, but Dennis is just trying to be helpful. Even to the thief who's arrived in town.
Furious that her late father only willed her his gloomy-looking mansion rather than his millions, Carrigan Crittenden is ready to burn the place to the ground when she discovers a map to a treasure hidden in the house. But when she enters the rickety mansion to seek her claim, she is frightened away by a wicked wave of ghosts. Determined to get her hands on this hidden fortune, she hires afterlife therapist Dr. James Harvey to exorcise the ghosts from the mansion. Harvey and his daughter Kat move in, and soon Kat meets Casper, the ghost of a young boy who's "the friendliest ghost you know." But not so friendly are Casper's uncles--Stretch, Fatso and Stinkie--who are determined to drive all "fleshies" away. Ultimately, it is up to Harvey and Kat to help the ghosts cross over to the other side. Written by
Joshua Davis <firstname.lastname@example.org>
Items from the set are were placed on display for many years at Universal Studios in Orlando, Florida. See more »
It is clear that the ignition must be turned upwards to remove the resurrection liquid, as shown by Dibs when he stole it. But when Carrigan is turned into a ghost and he refuses to make her live again, he pushes the liquid out of the ignition with it turned downwards. That gesture should have caused the opening of the bottle or the destruction of the ignition. The bottle does not open, but the ignition sparks. That shows it is broken. How they brought Dr. Harvey back to life if the ignition is broken? See more »
[the image of Clint Eastwood appears in the mirror]
I'm gonna kill you... your momma... and all her bridge-playing friends.
[face Changes again, this time to Rodney Dangerfield]
You think YOU got it tough? I got a facelift! And there's one that looks just like it underneath!
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Early during the end credits, Stretch (doing his Little Richard imitation) bursts through the credits, singing. See more »
There's something enormously touching about this film and the way it deals with losses -- Pullman's wife and Casper's mother, in particular. And what's so clever about it is how it uses them as a tool of audience manipulation AND has the evil ghosts use Pullman in exactly the same way that we're being used. This is a smartly written screenplay. The story itself is pretty conventional and predictable: the loner girl gets teased by a popular girl (that nobody really likes) who's out to destroy her; the popular girl has a cute boyfriend that the loner girl has the hots for, etc. etc., story will resolve itself with everyone falling in love with loner girl.
I can't quite understand why this movie has such a low rating. The only explanation I can think of is that people prefer emotionally "safe" movies like "Toy Story" (of the same year) that are equally brilliant technically (and have as many references), but don't sacrifice coolness by showing sentimental, sad emotion. It's possible that the movie got marketed incorrectly. The film isn't about spooks; like one of those early, wonderful Tim Burton fantasies (this film also shares with them an outstanding score), the film deals -- quite movingly, I think -- with regaining that lost sense of childhood: that moment where Casper tries to remember being alive is just wrenching. And the scene relates just as profoundly to us: just as he can't remember being alive, we can't, really, remember being kids. I was ten when I first saw this, and it had an effect on me then (Ricci's description of sunny side-up eggs making her gag subconsciously made me avoid anything less than hard boiled for ten years); this is something that I really cherish as being part of my young emotional and visual education, and it stands up today.
I haven't seen the director's other films, so I have no idea whether this whole thing was a fluke or whether everything just settled in to my particular sensibility, but even outside of the emotion I think the technical aspects, the giant basement set, are enough to keep interest. And even outside of that, the acting is terrific. Cathy Moriarty is an absolute riot. 7/10
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