Beloved filmmaker Tim Burton steps back into directing after a 5-year hiatus with the energetic legacy sequel, Beetlejuice Beetlejuice. The long-awaited follow-up gives Michael Keaton’s titular “bio-exorcist” far more screen time than in the original 1988 film, despite that minimal yet savored presence being the source of what made it so charming to begin with. Either way, Keaton keeps a firm grip on your attention at all times and Beetlejuice Beetlejuice is arguably better due to the change. It’s a wildly fun ride that allows director Tim Burton to truly let loose as he branches out the franchise’s morbid interpretation of the afterlife in some very wacky ways.
Picking up decades after 1988’s Beetlejuice, Lydia Deetz (Winona Ryder) is haunted by visions of Betelgeuse (Michael Keaton) as the mischievous demon tries to remind her of his ever-lasting presence. Lydia has since tried her best to change the public’s perception of the supernatural by hosting a television show where she explains and uncovers mysterious occult cases, which has boosted her own popularity for better or worse. Additionally, she’s joined by her manager-turned-husband Rory (Justin Theroux), who is mainly with Lydia for the fame of it all and will do anything to be by her side.
After the unexpected tragic death of her father, Charles Deetz, Lydia and her rebellious teenage daughter, Astrid (Jenna Ortega), meet up with her stepmother, Delia Deetz (Catherine O’Hara), at her childhood home in Winter River, Connecticut. Fed up with her mother’s ghostly antics, Astrid cycles into town, stumbling across a young man with whom she forms an instant connection. Unbeknownst to Astrid, he means trouble. Luckily, her mom is on edge due to the sudden return of Betelgeuse, thanks to someone saying his name three times, of course. What unfolds is a madcap adventure that spans across multiple realms and features many imaginative, spooky creations that only Tim Burton could conjure up.
Beetlejuice Beetlejuice follows the formula that one has come to expect from legacy sequels. It pays homage to the original movie with new ideas scattered along the way, but also with a strong emphasis on revitalizing a familiar world that audiences haven’t seen in decades. Like all Tim Burton projects, Beetlejuice Beetlejuice boasts the director’s unmistakable flairs and trademarks. His eccentric and Gothic cinematic touch is all over this sequel, from expansive sets that scream German expressionism to the excellent use of practical puppetry and tangible special effects. Fans of Burton will definitely not be let down.
Now, the story of Beetlejuice Beetlejuice is scattered all over the place. The script, written by Wednesday creator Miles Millar and his producing/writing partner Alfred Gough, with horror author Seth Grahame-Smith also receiving a story credit, focuses on one too many characters. One of the most promising plot threads begins when Monica Bellucci’s Delores, Betelgeuse’s ex-wife, makes her entrance to the sound of ”Tragedy” by the Bee Gees. It’s a great villain introduction that is lovingly grotesque and playful as her character gathers her limbs together in the lost property section of the underworld. However, Bellucci’s villain is wasted as she spends most of the runtime hunting down Betelgeuse, which does admittedly have its hilarious moments but lacks the needed depth. The film’s use of multiple villains only means they must compete for memorable screen time, making the audience wish we just got more of Bellucci’s Delores instead.
As always, Tim Burton’s actors buy into his kooky vision and deliver committed, playful performances. Michael Keaton’s return as Betelgeuse is worth the wait as he makes his grand entrance after teasing the troubled Lydia from the start. Betelgeuse is as nutty as ever, cracking obscene jokes and causing mayhem everywhere he goes. Winona Ryder plays Lydia Deetz as far more contained, internalizing her emotions but standing up for her daughter when needed. Meanwhile, rising star Jenna Ortega (Wednesday, Scream) takes on the role of Astrid with fiery independence as she rebels against the mere existence of the supernatural that her mother is steeped in. Ortega is easy to empathize with as the viewer naturally becomes more attached to her as the stakes rise.
Rounding out the impressive cast ensemble is Willem Dafoe as Wolf Jackson, a dead B movie action star who’s now a ghost detective. Ironically, Jackson is still committed to the stunts that caused his death, giving Dafoe a lot of dark humor to work with. One of the best things about Beetlejuice Beetlejuice is how free and unafraid it feels. Tim Burton spices up the flow with peculiar sequences that pay tribute to stop-motion animation, horror, and more. One stop-motion sequence, in particular, disrupts the narrative by depicting a plane crash and a shark attack. Other experimental sequences work far better, like Betelgeuse explaining his dark past with Delores, which is shot in black-and-white with film grain as he describes their first encounter in Italian while using a muffled microphone. It’s a creative way of giving exposition that pays homage to early horror movies made by filmmakers like Mario Bava.
A return to form for Tim Burton, Beetlejuice Beetlejuice is a chaotic and amusing sequel. It’s nothing groundbreaking for the famed director, not nearly as streamlined as the original nor as fascinating as, say, Edward Scissorhands or Sleepy Hollow. However, it is undoubtedly a highly entertaining time at the cinema and far better than his weaker efforts, such as 2019’s Dumbo and Dark Shadows. The world of the undead that Betelgeuse occupies is constantly engaging as Burton puts a twist on real-life locations and poor souls who died in varyingly absurd ways. No one will forget this sequel’s funky twist on a soul train and a certain wedding scene that hilariously sees the characters forced into song and dance. Tim Burton is back, and not only does his signature Gothic schtick still work, but it is also strong enough to make up for the lesser parts of the film.
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