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.
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.
The film's central conflict revolves around apolitical supernatural horror and individual survival against a specific evil, with themes of family protection and the consequences of greed not explicitly aligning with a particular political ideology.
The movie includes visible diversity in its supporting cast, but it does not feature explicit race or gender swaps of traditionally white roles. The narrative maintains a neutral to positive framing of traditional identities, with no explicit critique of them central to the story.
The character of the family's domestic helper, Leona Barrett in the 1960 original (portrayed by a white actress), is replaced by Maggie Bess (portrayed by a Black actress) in the 2001 remake, constituting a race swap for a legacy role.
The film 'Thir13en Ghosts' does not include any discernible LGBTQ+ characters or themes. The narrative focuses on a family trapped in a haunted house with no elements related to queer identity.
The movie does not contain any action or adventure elements.
The 2001 film is a remake of the 1960 original, but it features new characters and backstories for the ghosts. While the core family structure remains consistent in gender, no established character from the 1960 film or other source material is portrayed as a different gender in the 2001 version.
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