The Sleepless Souls (2026) is a comedy-horror that understands one crucial truth: ghosts are far less frightening when they’re emotionally messy, chronically bored, and incapable of shutting up. Instead of leaning into pure terror, the film embraces chaos, timing, and character-driven humor, creating a supernatural romp that feels playful, self-aware, and oddly comforting.
Jason Sudeikis anchors the story as Bill, a painfully ordinary man whose greatest fear isn’t death—it’s disruption. Sudeikis excels at portraying quiet desperation, and his performance thrives on subtle reactions: the exhausted sighs, the defeated stares, and the slow realization that his life has gone completely off the rails. Bill isn’t a hero; he’s a man who just wants one full night of sleep, which makes him instantly relatable.
The haunted house itself feels less like a gothic nightmare and more like a dysfunctional apartment complex for the dead. Doors slam without purpose, whispers argue over nothing, and objects move simply out of spite. The ghosts aren’t malicious—they’re bored, unresolved, and deeply annoying, which makes their presence far more invasive than any traditional scare tactic.
Tiffany Haddish storms into the film as Tanya, a paranormal investigator who’s clearly tired of both humans and spirits. Haddish brings sharp comedic authority to the role, delivering sarcasm like a weapon while slowly realizing that this case refuses to follow any rules she knows. Her frustration becomes part of the comedy, as every solution only deepens the madness.
John C. Reilly’s medium is a masterclass in chaotic incompetence. With misplaced confidence and wildly incorrect advice, he turns every séance into a disaster. Reilly’s performance thrives on awkward pauses and earnest sincerity, making his character impossible to hate—even as he actively makes everything worse.
Awkwafina, however, is the film’s undeniable spark. As a fast-talking, pot-stirring ghost, she injects manic energy into every scene. Her character isn’t interested in closure or peace—she wants attention, entertainment, and control. Awkwafina’s delivery turns even throwaway lines into comedic grenades, ensuring the film never loses momentum.
What elevates The Sleepless Souls beyond simple comedy is its emotional subtext. Beneath the jokes lies a story about unresolved lives—both living and dead. The ghosts aren’t trapped by curses, but by unfinished feelings, unspoken regrets, and the fear of being forgotten.
The film’s pacing strikes a smart balance between spooky atmosphere and rapid-fire humor. Jump scares are replaced with interruptions, and tension comes not from fear, but from unpredictability. You never know when a quiet moment will collapse into absurdity, which keeps the audience constantly engaged.
Visually, the movie leans into playful horror aesthetics—dim lighting, flickering lamps, and exaggerated ghostly effects that feel intentionally theatrical. Rather than aiming for realism, the visuals complement the tone, reinforcing the idea that this world operates on comedic logic.
By the final act, the film subtly shifts from chaos to connection. Bill learns that peace isn’t about control, Tanya confronts her own emotional fatigue, and the ghosts inch closer to rest—not because they’re forced to, but because they’re finally heard.
⭐ Final Verdict: The Sleepless Souls is a charming, laugh-heavy comedy-horror that thrives on strong performances and clever tonal balance. Jason Sudeikis grounds the madness, Tiffany Haddish and John C. Reilly amplify it, and Awkwafina steals it outright. Funny, chaotic, and unexpectedly heartfelt, the film proves that sometimes the loudest spirits are the ones with the most to say—and the hardest to forget.
