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Thir13en Ghosts

Thir13en Ghosts

Horror · Thriller · 2001

Arthur and his two children inherit his uncle's estate: a glass house that serves as a prison to twelve ghosts. When the family, accompanied by a nanny and an attorney, enter the house they find themselves trapped inside an evil machine 'designed by the Devil and powered by the dead' to open the Eye of Hell. Aided by a ghost hunter and his rival, a ghost rights activist out to set the ghosts free, the group must do what they can to get out of the house alive.

Movie details

Thir13en Ghosts

“Misery loves company.”

2001 Horror · Thriller 1h 31m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

Arthur and his two children inherit his uncle's estate: a glass house that serves as a prison to twelve ghosts. When the family, accompanied by a nanny and an attorney, enter the house they find themselves trapped inside an evil machine 'designed by the Devil and powered by the dead' to open the Eye of Hell. Aided by a ghost hunter and his rival, a ghost rights activist out to set the ghosts free, the group must do what they can to get out of the house alive.

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 Thir13en Ghosts?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Steve Beck

Written by

Richard D'Ovidio · Neal Marshall Stevens · Todd Alcott · Robb White

Tony Shalhoub

Tony Shalhoub

Arthur

Embeth Davidtz

Embeth Davidtz

Kalina

Matthew Lillard

Matthew Lillard

Rafkin

Shannon Elizabeth

Shannon Elizabeth

Kathy

A

Alec Roberts

Bobby

JR Bourne

JR Bourne

Ben Moss

Rah Digga

Rah Digga

Maggie

Court is in session

Put Thir13en Ghosts on trial.

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

The defence The Adrenaline Seeker

“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 Prestige Tourist

“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.