When Beetlejuice was released in 1988, it became a smash hit and helped make Tim Burton a household name. Over the years, the film has become a classic among many, while Burton has experienced many peaks and valleys in his filmmaking career. During this period, many people tried to crack the code on making a Beetlejuice sequel, with titles such as Beetlejuice in Love and Beetlejuice Goes Hawaiian being kicked around as potential follow-ups. Burton, as well as the original film’s stars Michael Keaton and Winona Ryder have been on board for a potential sequel from the jump, but nothing really seemed to make progress for a number of reasons. Finally, in 2022, it was announced that a sequel was in production with Burton and many of the film’s original cast members returning. On top of this, Burton and Keaton revealed that they sought to return to the handmade feel of the original film, utilizing practical effects as much as possible. The anticipation for the sequel was starting to rise, with fans of Beetlejuice and Burton hoping that it would recapture some of the magic of the former, and usher in a bit of a comeback for the latter.
Now that Beetlejuice Beetlejuice has been released, I can confidently say that it doesn’t fully accomplish either of those things, but is still plenty of fun. It gets dragged down by an almost disastrous script that overcomplicates everything, but it is redeemed by the moments where Burton gets to do his thing. It does fall into the trap many legacy sequels have where it has to play the hits a little, but manages to overcome feeling like pure nostalgia bait by not taking itself too seriously. I can’t deny that Beetlejuice Beetlejuice has its glaring flaws, but I truly enjoyed it despite them.
Decades after the events of the first film, Lydia Deetz (Winona Ryder) has found fame and fortune through hosting a supernatural TV show called Ghost House. She is romantically involved with her producer, Rory (Justin Theroux) and has a strained relationship with her daughter, Astrid (Jenna Ortega). When she gets word from her stepmom, Delia (Catherine O’Hara) that her father has died, Lydia returns to the house where she first encountered Betelgeuse (Michael Keaton) as a teenager. Meanwhile, Betelgeuse has settled into a career managing a call center in the afterlife. But soon finds himself chased down by an old flame named Delores (Monica Bellucci) who is out for revenge. These plotlines set off a chain of events that cause Lydia and Betelgeuse to reunite, and lead to some wacky hijinks in the process.
One of the things that makes Beetlejuice such an endlessly rewatchable film is that it has a relatively simple premise that is filled with memorable imagery and dialogue. This film seems to forget that, and is saddled with a sloppy script that features way too many subplots. It doesn’t help that these subplots mostly get resolved in the most careless ways, which leads the viewer to wonder why they were even included in the first place. There are at least two or three plotlines that could have easily been cut and it wouldn’t affect the film all that much. This is perhaps the thing about the film that is the toughest to reconcile with, as it is impossible to ignore and holds the film back a fair deal.
And yet, there is something about the messiness that kind of worked for me. Make no mistake, the scattered nature of the film’s plot did frustrate me a bit multiple times throughout, but it didn’t bother me as much as it probably should have. Maybe I am just so worn down by legacy sequels that are overly reverent to their source material that it is almost refreshing to see one that is as goofy as this one is. So much of this film is a blast to watch, and a lot of it comes from the anarchic energy it brings. I would never insist this film is a masterpiece, but I certainly enjoyed this one more than most legacy sequels I’ve seen over the past few years. It does come at the cost of feeling like it misunderstands some of what made Beetlejuice such a beloved film, as it is a bit inconsistent at times. But there’s enough of that magic from the original to make this film feel worthwhile.
A lot of this is due to the production design, which recreates familiar imagery from the original film, and has that distinct Burton quality to it. There are certain touches that I really liked, such as certain details of the afterlife and various design choices in the real world. There is a playfulness to it that really clicked with me, which is something I’ve missed from Burton’s recent work. The look of the world helps strengthen the film, as it adds texture and character to everything else. The world of the film is captured wonderfully, which helps make up for its weak writing. The visual aspects of the film feel quite realized, and are all the more impressive considering the use of practical effects in it. The character designs, the puppetry, and the stop-motion sequences all feel true to the original, and are absolutely delightful in the context of the film.
The big draw for many people will be that this film reunites some of its original cast members, and it is great to see all of them reprise their roles. Winona Ryder is quite good, and the film is able to match her specific persona that she has grown into. The film doesn’t always know what to do with her character, but she has such a great presence that it makes up for it. Catherine O’Hara is hilarious as always, and nails every scene she’s in. Delia is such a funny character on her own, but it is O’Hara’s specific comedic sensibilities that really makes her sing. Betelgeuse has to be one of Michael Keaton’s most defining roles, so there’s definitely a lot of pressure on him with this film. Thankfully, he doesn’t disappoint and is fantastic here. The unpredictable energy he brings to the role is electrifying, and his mere presence always breathes so much life into the film.
As for the newcomers, most everyone is good, yet are underserved by the script. Jenna Ortega is well cast as Lydia’s daughter considering that she is Winona Ryder’s heir apparent in regards to her place in pop culture. However, her character has one of the film’s weaker subplots, and she gets a little lost in the shuffle at times. Monica Bellucci has very little to do in the film, but she has a nice presence that makes her scenes interesting at the very least. Willem Dafoe’s character is fun, but the film doesn’t always use him as well as they could. Dafoe is funny, and fits into the world of the film well, but is kind of underused. Justin Theroux is in a similar boat, as he embodies the character well, but he gets sidelined a bit. He has some great moments though, especially in his first encounter with Betelgeuse, and makes the best of what he’s given.
The film is ultimately saved by how talented the cast is, the strength of its world, and Tim Burton’s distinct vision. They help make up for a messy script and give the film its distinct personality. Does it fully recapture the lightning-in-a-bottle of the original? No, but it is still better than I was expecting it to be. Given Burton’s recent track record and the fatigue I’ve been having with legacy sequels, I was pretty skeptical going into this one. I’ve loved Beetlejuice ever since I was a kid, and while the idea of a sequel is interesting, I wasn’t sure if it could be done. But here we are, and while Beetlejuice Beetlejuice is far from perfect, I must admit that I had a ball watching it, and that it has enough great things going for it that help make up for its weaknesses.
Beetlejuice Beetlejuice is a bit of a mess, but it is a mess that I liked far more than I was anticipating. It does occasionally prey off nostalgia, and it is a bit all over the place, but it is so much fun and easily the best of Tim Burton’s most recent output. It isn’t the full-fledged comeback fans were hoping for, but there are many moments in the film where he feels more alive than he has in years. It doesn’t fully live up to the original, but it is still a highly enjoyable sequel that had me smiling and laughing all throughout. Admittedly, it is quite flawed, but there are so many things it has going for it that I really like that it makes up for it. It is a bit refreshing given how self-serious most legacy sequels can be, and I had such a fun time with it.
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