written by: Alfred Gough and Miles Millar
produced by: Marc Toberoff, Dede Gardner, Jeremy Kleiner, Tommy Harper &
Tim Burton
directed by: Tim Burton
rated: PG-13 (for violent content, macabre and bloody images, strong language, some suggestive material and brief drug use)
runtime: 105 min.
U.S. release date: September 6, 2024
American filmmaker Tim Burton made his live-action directing debut back in 1985 with “Pee-Wee’s Big Adventure” and delivered “Beetlejuice” in 1988 and “Batman” in the summer of 1989. That’s an impressive trio of movies, all stamped with his specific sense of style, boldness, and humor. Burton had only helmed one sequel to those movies (1992’s “Batman Returns”), until now with the much-discussed and long-awaited “Beetlejuice Beetlejuice”. Granted, it’s not a movie that ever screamed for a sequel, but for whatever reasons, the titular character portrayed by Michael Keaton became quite popular, as did the comical macabre tone established, so here we finally are.
When Keaton returned as Batman in last year’s “The Flash,” there wasn’t too much concern regarding whether or not he could don the cape and cowl again. He was the best contributor to that movie, so it was no problem for Keaton. But what about revisiting the charismatic “bio-exorcist” wiseacre demon 36 years later? After so much time, could Keaton slip back into one of his best roles, and, better yet, beyond the Gen Xers out there, would today’s audiences even care?
Well, it turns out “Beetlejuice Beetlejuice” is quite funny and a lot of fun! And that’s coming from a guy who thought the first movie was good, not great. Watching this sequel made me wish Burton had done more movies with Keaton than with Johnny Depp. Burton taps into the weirdness and monkey business that he used to relish, and Keaton finds the juice to get goofy once again, bringing along with them composer Danny Elfman because how could you not?
Like the last movie, the screenplay – this time by Alfred Gough and Miles Millar – isn’t positioning the titular character as the lead, and that’s a smart decision. A little Beetlejuice goes a long way and while Keaton’s role is more expanded here, the heart of the story here revolves around three fascinating female characters played by exceptional actors.
When we catch up with Lydia Deetz (Winona Ryder), we learn she has become the host of a cult-favorite show called Ghost House with Lydia Deetz, using her paranormal talents to make a cozy living with her manager/boyfriend, Rory (Justin Theroux). She seems to be doing all right for herself, except for recent random sightings of Betelgeuse. When her stepmother, Delia (Catherine O’Hara), informs her of her father’s sudden death during a birdwatching expedition, Lydia winds up returning to Winter River, Connecticut, for the funeral service. On their way back to the town, Lydia and Delia pick up Lydia’s estranged teen daughter, Astrid (Jenna Ortega), from boarding school.
Reluctantly, Astrid joins the pair as they return to the iconic house on the hill (now deemed the Ghost House by townfolk), yet wanting nothing to do with any of the planning, which is conveniently occurring during the Halloween holiday. She’s still heartbroken over the death of her father and resents not being able to discuss the subject with her famous mother.
Meanwhile, Beetlejuice’s soul-sucking ex-wife, Delores (played by current Burton muse Monica Bellucci), manages to piece herself back together (literally, to the tune of “Tragedy” by The Bee Gees) with the determination to reunite with her husband and kill anyone who stands in her way. When news of this gets to Betelgeuse (pronounced Beetlejuice), who has expanded his freelance business to employ a dozen tiny-headed call center representatives, he panics and looks to find a way to discard Dolores while scrambling to avoid her. After all, this is someone who uses her vacuum-like breath to turn victims into shrunken blobs. In doing so, “The Juice” sees an opportunity to reunite with Lydia, who winds up needing him after Astrid finds herself lured by Jeremy (Arthur Conti), a local teen who’s curiously friendly. Despite going out of her way to keep Beetlejuice in the past three decades, Lydia now says his name three times to team up with the confusing trickster.
While Burton expands upon the distinctive mise-en-scène from the first movie, the standout of this sequel is the dysfunctional relationship between Lydia and her sullen daughter and her conceptual artist stepmother. O’Hara’s Delia knows all too well what it’s like to try parenting a moody teen with a penchant for the weird and unusual. Burton and his writers give O’Hara more to work with here, and her interactions with Ryder and Ortega are a surprising delight. The three have a fun and effortless chemistry that holds the movie together amid all the expected hectic wackiness.
“Beetlejuice” took a “Jaws” approach to the character, resulting in Keaton’s screentime clocking in at nearly 20 minutes. In “Beetlejuice Beetlejuice,” Keaton can be seen throughout the entire feature, but his involvement never overwhelms the story. If Burton and Keaton stated that they had a lot more fun while making this sequel, I’d believe it. Burton includes a hilarious stop-motion animation sequence that explains what happened to Lydia’s father, Charles Deetz. It’s funny because it’s an unexpected approach that breaks up the live-action mayhem, and it’s a way to work around how to keep Jeffrey Jones out of the picture (one Google visit, and you’ll understand that decision). Burton dives back into his love for German Expressionism here and also pays homage to the works of Italian filmmaker Mario Bava, while also injecting the frantic craziness with a bit more blood
Keaton is a hoot here, reminding viewers he revels in improvisation and quick banter. Considering this may be an introduction to Beetlejuice for some viewers, it’s an excellent opportunity to show them Keaton’s range for the first time. Another unexpected moment can be found in the black-and-white flashback sequence in which Betelgeuse recounts how he and Dolores met long ago—adding these clever and funny moments up results in something more than your typical legacyquel. Apart from Betelgeuse attempting to meet Lydia at the altar again, there aren’t many repeated plot points here. Come to think of it, three different couples attempt to tie the marital knot.
For some viewers, there may be too many new characters in “Beetlejuice Beetlejuice,” and usually, I’d agree, but I found myself impressed with how they all make sense and tangle each other in fitting ways. Besides Theroux and Bellucci, there’s also Willem Dafoe, new to The Afterlife as actor Wolf Jackson, who believes himself to be some paranormal supercop. All the actors new to Burton’s world are having a blast, especially Ortega, who’s spot-on here as Astrid. An uncredited cameo from a Burton mainstay will also make you chuckle.
The sound and vision of “Beetlejuice” were an integral part of its success, which continues in “Beetlejuice Beetlejuice.” Credit for that is due to cinematographer Haris Zambarloukos, who synchronizes with editor Jay Prychidny to fluidly balance the manic energy with a potent, heartfelt family story. The calypso song “Day-O (The Banana Boat Song)” returns, but only once, leaving room for the brief inclusion of a Richard Marks tune and a hilarious use of Jimmy Webb’s “McArthur Park” that is featured in much the same way the Harry Belafonte song is incorporated in the first movie.
It’s great to see Burton back in the director’s chair for this sequel, who seems energized to revisit the chaotic spirit world that’s still filled with infectious practical effects. Arguably, he hasn’t delivered a great film since 2007’s “Sweeney Todd,” so it’s terrific to see a return to form for Burton that includes a handful of unexpected choices in “Beetlejuice Beetlejuice” that surprisingly work. It’s bound to be a hit, and considering what it takes to conjure Keaton’s iconic role, I’m sure we’ll see “Beetlejuice Beetlejuice Beetlejuice” next.
RATING: ***
