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Co-written and directed by David Koepp, Ghost Town is a pleasant little cinematic gem which perfectly balances romantic comedy and light-hearted ghost story. Despite being a commercial underperformer (only just regaining its budget at the box office) and suffering a short theatrical run, this is a genuinely funny rom-com elevated by a top-shelf cast and a sharp script. Thankfully, Koepp's feature never goes big - there are no over-the-top comedic set-pieces, and the filmmakers never hurl fistfuls of money at the screen to distract with ornate sets or excessive CGI. Ghost Town isn't weighed down by too many characters or dangling subplots either, so it's therefore able to focus on making us laugh and tugging our heartstrings (which it does well). The film's sense of humour is dry, quippy, and superbly understated, while at the same time there's a sweetness and vulnerability on the flipside - this is a movie with a big, beating heart.
The protagonist here is a misanthropic dentist named Bertram Pincus (Gervais). The man hates people, and he chose his profession because he doesn't have to talk to his clients. During a routine colonoscopy, Bertram unexpectedly dies for bit less than seven minutes. Following his brief departure into the afterlife, Bertram is gifted with the ability to see and interact with ghosts wandering the streets of New York City, specifically those with unfinished business from their former lives. Unfortunately for the socially awkward Bertram, the ghosts begin pestering him non-stop, seeking his help to finish their unfinished business. Bertram soon meets a recently-deceased businessman named Frank (Kinnear) who promises to get rid of the ghosts forever if he does him a favour. Frank's widow (Leoni) is about to be remarried, and Frank wants Bertram to break it up.
Writers Koepp and John Kamps never bog down their screenplay with superfluous subplots, nor do they introduce a gaggle of characters merely for a laugh - the screenplay is instead remarkably sleek and efficient. Ghost Town is essentially a three-character piece: it focuses on Frank, Frank's widow Gwen, and the misanthropic Bertram who's inadvertently caught in the middle. The first half of this feature is a blend of amusing situations and droll dialogue as Bertram comes to terms with his new ability. A hilariously tempestuous relationship also develops between Bertram and the ghosts during this period which erodes the dentist's patience. Once the comedic and romantic elements are established, Koepp reaches for the heartstrings during a few poignant sequences. This mawkish aspect is surprisingly well-handed, although the tonal shift is a bit abrupt. During the final forty minutes, the screenplay unfortunately descends into a mire of familiar rom-com clichés.
Bertram is a snobbish antisocial asshole, and from the outset it's obvious he'll be redeemed by the film's dénouement. The problem is that the movie is devised to be a romantic comedy, and it's difficult to embrace the romance if one half of the couple is unlikeable. Because the dentist is so horrible to Gwen initially, it's also difficult to accept the fact that she falls for Bertram...it's the quickest "frenemy" conversion in movie history.
The core of the story is not otherworldly exploration, but Bertram slowly adjusting to the world of communication with other people. The ghosts are mainly a MacGuffin - they help Bertram realise his hollowness, and place the man on a path to redemption. Ghost Town thankfully avoids addressing concepts of spirituality and God, therefore never becoming needlessly preachy or provocative, and it's far more enjoyable as a result. However, the script stumbles in its depiction of ghosts - they can walk around on the solid floor, they can sit in seats, they can lean on walls and obviously have some form of physical presence...yet they can walk through things as well (Frank clearly moves from room to room without using a door). This aspect is ultimately confounding, and the duo of writers should've included a brief explanation. After all, explaining the abilities of ghosts in this sense is a concept overflowing with comedic possibilities.
Ghost Town is ultimately elevated by the well-developed characters and the witty, well-written character interactions. Director Koepp handles the material with great skill, displaying a sleight-of-hand that can be funny, surprising or touching. The combination of Koepp's delicate direction and a wonderful soundtrack ensures that Ghost Town engages and entertains from the very first frame.
Ricky Gervais pulls off the lead role with unique self-assurance. He is the exact opposite of a romantic lead - short, middle-aged, and ordinary in appearance - but he perfectly matches the character of Bertram Pincus. Gervais never forces his lines or overacts - his humour is instead dry and understated, yet caustic. Greg Kinnear is equally excellent, taking his sleazy, determined ghost role and infusing it with a convincing, regretful sense of humanity. Kinnear and Gervais play off each other wonderfully whenever they share the frame. Thanks to these endearing actors, a viewer can become comfortable with the concept of a man talking to ghosts, and therefore get comfortable with the characters. Alongside Gervais and Kinnear, there's a very watchable Téa Leoni. Kristen Wiig (who previously featured in Knocked Up) is given a tiny role as a meek surgeon, and provides some of the movie's biggest laughs. There's some impeccable back-and-forth between her and Gervais as she desperately tries to cover up gross malpractice.
With Ghost Town, David Koepp grasps a familiar framework and does something remarkable with it. The writer/director's approach is understated yet devastatingly hilarious, and with a lot of heart to boot. Ghost Town may not burn up the box office, but this perfectly entertaining effort entertains and disarms with an impeccable mix of humour and pathos.
8.2/10
