Are the Them There company Britain’s most beloved and influential comedy troupe since Monty Python? Starting life by shaping many a child’s love of history on CBBC’s Horrible Histories, the company went onto a three season cult hit at Sky with Yonderland and the cinematic treatment with 2015’s Bill. They further cemented their legacy as Britain’s best with Ghosts, a smash hit sitcom for the BBC that won numerous comedy awards and spawned remakes worldwide. The premise, a young couple who inherit a crumbling estate filled with the ghosts of its past, brought the fish out of water premise of Yonderland alongside the historical touchpoints of Horrible Histories, a match made in heaven for this troupe. After five successful series, the creators decided to close the door on Button House, with co-creator Laurence Rickard telling The Radio Times “we didn’t want to be treading water”. Yet three years after its weepy finale the itch has been scratched for another outing, this time on the big screen. Thankfully for Rickard and all of us, there are just enough new tricks in their arsenal, combined with the likeable characters and signature humour fans know and love, to keep The Possession Of Button House afloat as a pleasant addendum to a joyful series.
We find our ghosts in a state of longing, with Button House up for sale and construction of a new hotel stalled. The appearance of a group of eco-protesters on the lawns demanding an end to a proposed hotel plan that would give them the steady stream of visitors they crave does little to lighten the mood. The arrival of a new group of youths, led by the displaced Jack (a world-weary Scott Ellis Watson), brings hope to the ghostly residents for new companionship. It instead offers, as revealed by a seance game, a way to imbue the living with the spirit of the dead. Before you know it, the ghosts have switched places with the humans and Jack finds himself in the real world possessed by the spirit of ghost Julian (Simon Farnaby), a disgraced, sleazy Tory MP trying to reach former owner Alison to help form a smear campaign to bring down the eco-protesters. Meanwhile, the spirit of Jack finds itself trapped among the ghosts, who attempt, often in vain, to make him feel like a part of a family he feels he doesn’t have.
The biggest reliever to any fan of the show is that while Julian does take the narrative centre stage, every ghost in the lineup feels delightfully well served and each arc satisfyingly resolved. While a knowledge of the source material might be helpful to understand character history, none is required to see just how perfectly each member of the cast embodies their role or indeed be swept up in their plights. While each ghost’s motivation is seemingly unique, from 1980s scout master Pat Butcher’s (Jim Howick) desire to relive his days helping the young, to romantic poet Thomas Thorne’s (Matthew Baynton) wish to rekindle his lost lust, or even as simple as Georgian Era ghost Kitty’s (a show stealing Lolly Adefope) hope to make a friend, each shows an intense need for companionship lost in their transition from the living to the dead. Effective use of flashback gives us glimpses into their lives before as characters reminisce on what they left behind. The greatest companionship that can be offered however lies in each other, and as always the chemistry between the characters is on point, particularly the back and forth barbs and/or mutual respect present between the WW2 Captain (Ben Willmond) and haughty former lady of the house Fanny (Martha-Howe Douglas).
Watson is a likeable human anchor, working off the ghosts well, and it’s easy to buy into his own desire for a group of people to call family. He is also terrific whenever he has to impersonate Farnaby, although much of the role involves us seeing Julian while others see Jack, allowing Farnaby mostly delightful free rein for his signature clowning. By the time Alison (Charlotte Ritchie) is introduced, she again feels satisfyingly integrated, with her family life happy but beginning to tug and strain.
It’s not all rosy however, with much of the second act humour relying on Julian gawping with increasing incredulity at the modern world. This is funny in theory and the commentary around rising cost of living does get a few chuckles, but it is the rare case where Farnaby’s pantomime expressions hinder a joke rather than help it, resorting to the same unfunny groan every time where an exasperated one liner might have served it better. Rufus Jones feels wasted as the scheming local MP, as does Sian Clifford as eco-protester Janine, with both roles lacking in dramatic or comedic heft. The third act also requires brains to be left firmly at the door, particularly with how far they push the body swap concept and what it allows people to legally get away with without consequence or consent. The mileage of patience for the final act hijinks will vary but there is still some fun to be had if logic is firmly parked. The same applies to the tension and suspense of the final act, which while thrilling in isolation becomes a bit muddied if you have seen the 2023 Christmas Special, though those without that knowledge will likely have no problem with what unfolds.
The Possession Of Button House is highly unlikely to set the world on fire or change your perception of Ghosts as a property, and frankly I’d be concerned if it did. This is a crowd pleasing snapshot of why fans love these characters, with simple and effective scenarios consistent to fan expectations with an updated budget and scope. Those unfamiliar with the series may stand to benefit from at least a quick summary to pull them to speed, but it is not essential, and while imperfect, this cinematic outing should please experts and novices alike.
