Ghosted: A Lifeless Mashup of Romance and Action

The opening scene of Ghosted (2023) sets its tone: Chris Evans‘ Cole, an organic farmer and aspiring author, meets Ana de Armas’ Sadie at a Washington D.C. farmers’ market. Their chemistry is instant, their banter sharp, and the audience is primed for a rom-com with a twist. But Dexter Fletcher’s film, written by Rhett Reese, Paul Wernick, Chris McKenna, and Erik Sommers, quickly spirals into a mess of generic action beats and uninspired romance.

The premise—a man discovering his love interest is a secret agent—has potential, blending the intimacy of a romantic comedy with the thrills of an action spy thriller. However, Ghosted squanders this promise. The film’s structure is a series of set pieces strung together with minimal narrative cohesion. Cole and Sadie’s whirlwind adventure takes them from London to Pakistan, but each location feels interchangeable, a backdrop for the next chase or fight scene.

What should be a playful dance between romance and action instead becomes a tedious exercise in sheer greed and laziness. The film presumes that the star power of Evans and de Armas, along with a roster of supporting actors including Adrien Brody and Mike Moh, will carry the day. But chemistry can’t be manufactured, and the leads’ interactions often feel forced and unconvincing.

The action scenes, while competently executed, lack the innovation or intensity to leave a lasting impression. The film’s pacing is erratic, with moments of levity undercut by abrupt shifts into high-stakes danger. A particularly egregious example is the implied sex scene between Cole and Sadie, which is so flatly presented that it’s more likely to induce yawns than arousal.

The film’s attempts at humor also fall short. The cameos from supporting characters like Amy Sedaris and Tim Blake Nelson feel tacked on, as if the writers were checking off a list of obligatory laughs rather than crafting organic moments. The dialogue often leans on clichés, with lines that feel more like placeholder jokes than genuine wit.

Where Ghosted does show some spark is in its exploration of themes like deception, trust, and redemption. These elements hint at a richer narrative buried beneath the film’s surface-level antics. However, these themes are never fully developed, left to languish amidst the film’s relentless pursuit of spectacle.

The performances, while professional, lack the nuance and depth needed to elevate the material. Evans’ Cole is a well-meaning but unremarkable everyman, while de Armas’ Sadie is given little to do beyond being competent and enigmatic. The supporting cast fares slightly better, with Brody’s Leveque standing out as a memorable villain.

In the end, Ghosted is a film that tries to be everything to everyone and ends up pleasing no one. It’s neither a satisfying romance nor a thrilling action film, caught in the limbo of genre confusion.

The film’s direction by Dexter Fletcher is unremarkable, failing to infuse the material with any distinctive visual style or pacing rhythm. The cinematography is functional but forgettable, with shots that serve their purpose but lack any artistic flair. The editing is equally uninspired, with transitions that feel abrupt and disjointed rather than seamless and engaging.

The soundtrack is another area where Ghosted misses the mark. The score is generic and unmemorable, failing to enhance the emotional beats or heighten the tension during action sequences. The lack of a standout musical moment further underscores the film’s inability to leave a lasting impression on its audience.

One of the most glaring issues with Ghosted is its tone. The film struggles to find a consistent balance between romance, comedy, and action. Scenes that should be heartfelt or humorous often fall flat due to the film’s erratic pacing and lack of emotional depth. This tonal inconsistency makes it difficult for the audience to become invested in the characters or their journey.

The film also suffers from a lack of originality. Ghosted borrows heavily from established tropes and formulas, offering little in the way of fresh ideas or innovative storytelling. The result is a film that feels derivative and uninspired, failing to stand out in an already crowded genre.

Despite its flaws, Ghosted does have moments of enjoyment. The chemistry between Evans and de Armas, while not consistently strong, does have its spark. Their banter at the farmers’ market is one such instance where their interactions feel natural and engaging. Additionally, the film’s exploration of themes like deception and trust adds a layer of depth that elevates it above more mindless action fare.

The supporting cast also brings some much-needed energy to the film. Adrien Brody’s Leveque is a standout, delivering a performance that is both menacing and charismatic. His presence adds a sense of danger and unpredictability to the film’s latter half, making him one of the few memorable characters in the ensemble.

The film’s action sequences, while not groundbreaking, are competently executed. The chase through the Khyber Pass is well-staged and visually engaging. This moment provides some much-needed excitement and helps to keep the audience’s attention, even if it ultimately fails to leave a lasting impression.

Ultimately, Ghosted is a film that tries too hard to be everything to everyone. Its attempts to blend romance, comedy, and action result in a narrative that feels disjointed and unfulfilling. The performances are professional but lack depth, the direction is unremarkable, and the tone is inconsistent.

For fans of romantic comedies or spy thrillers, Ghosted offers little in the way of innovation or originality.