Posted by Beetlejuice Beetlejuice; 2024; Written by Alfred Gough & Miles Millar (Story by them and Seth Grahame-Smith) based on characters created by Michael McDowell and Larry Wilson; Directed by Tim Burton; Starring Winona Ryder, Michael Keaton, Catherine O’Hara, Jenna Ortega, Justin Theroux, Willem Dafoe; PG-13; 1h45m; Warner Brothers.
Beetlejuice! Beetlejuice! One more? Or save that for the next sequel? Maybe I will say it a third time and have him write this review for me. Nah, I might not be able to get rid of him. Not sure if it works in writing anyway.
It’s been thirty-six years since the ghost with the most was last conjured up on the silver screen. Thirty-three after the ninety-four-episode cartoon that ran from 1989 until 1991. The dude’s been a continual presence at Universal Studios Theme Parks as well, not to mention the acclaimed stage musical (I haven’t seen it yet). True to his character, Beetlejuice is that wart on your foot that never quite goes away.
However long after Beetlejuice was returned to the afterlife, Tim Burton lets loose the ‘Juice in the long-gestating sequel to his second feature film, the one that cemented him as a favorite weirdo cult-ish director for us strange and unusual kids after 1985’s Pee Wee’s Big Adventure.
In making his best film since the underappreciated full film version Frankenweenie (2014, though much around that was lackluster; Big Fish was the last great live-action). And he’s brought back just about everyone still living, in front of and behind the camera from the first. Except Alec Baldwin and Geena Davis as the Maitlands, the former residents of the Deetz home who used Beetlejuice to evict the new residents in the first film. They’ve moved on from a “loophole.” That’s alright, I don’t see how they could have factored in too much into the various plots on hand, as there are already perhaps too many characters.
Beetlejuice Beetlejuice, overall, is a raucous, hilarious film. It’s a crowd-pleaser where the majority of the jokes land, with fantastic production design that leans on practical effects and sets, great characters and chemistry, and mostly solid fan service callbacks (with a few that don’t work). It’s also a little overstuffed in plots, trying to give enough for every character to do; leaving the film a little scattershot. Especially compared to the relatively straightforward original.
Let’s briefly go over that story, written by Alfred Gough & Miles Millar. Charles Deetz has died (though his image is used, Jeffrey Jones is not to be seen; look it up if you want to know why), thus leading to Winona Ryder’s Lydia (still able to see ghosts, she hosts a cheesy paranormal show) and Catherine O’Hara’s Delia back to their formerly-haunted home. Lydia’s been troubled by the death of her husband and a growing disconnect with her daughter Astrid (Jenna Ortega), being used by her boyfriend/producer Rory (Justin Theroux), and being troubled by occasionally glimpsing Beetlejuice. The titular character still performs bio-exorcisms, now with the help of a cadre of David Byrne impersonators: shrunken heads, and big suits including Bob, leading the charge of scene-stealers. The bio-exorcist is pushed into action by the return of his ex-wife Delores (Monica Bellucci, the latest of Tim’s belles to be shoe-horned into his movies), she’s on the hunt to destroy him. Astrid, bored of the small town and disconnected from her family, connects with a local kid with secrets. Rory is pushing for a wedding for publicity as the family plans the funeral. And mixed into all of this is Willem Dafoe as an afterlife cop hunting down our characters for various reasons.
Whew.
That’s a lot for 105 minutes. It’s like they used every story idea they brainstormed in the last 36 years, all except the “Goes Hawaiian” joke title bandied about when a sequel was brought up in the early years of release. With many plots and characters to balance, Beetlejuice Beetlejuice often feels like three B-plots shoved together, with plot points and characters vanishing for long stretches. Honestly, Delores could be cut from the film without losing much, perhaps in favor of more of Astrid’s plot.
But, even with so much going on, it works due to the sheer energy of the production and performances; barrelling through it all. It’s a film where most of the actors try to be the scene-stealer and Burton can temper each so it works without overload. Michael Keaton brings the same tornado of undead chaos as if he just finished filming the first flick. Like the 1988 film, he’s used just enough to command attention before overstaying his welcome; when he reappears the movie is his.
Oh, Catherine O’Hara, I love you. Delia Deetz was a proto-Moira Rose, and coming out of six years of Schitt’s Creek, O’Hara embodies Delia with a fuller understanding of this type. She sinks her claws in and goes for broke with the best of all the line readings (again, Moira).
Maybe underserved is Lydia herself. She’s rather passive for most of the runtime. I get she’s troubled but at a point, Delia tells her “Where’s that little goth girl who used to torture me?” I miss her, and the film does, too. With the results of the events of the film, here’s to a more dynamic Lydia Deetz for a third round. But I loved the character dynamic of Lydia and Delia. The connection of existing together for three decades, having grown as people are felt and touched on. There is a realness underneath, led by two actors with amazing chemistry. The mother-daughter dynamic is continued with Lydia and Astrid; Ortega and Ryder connect as well as O’Hara-Ryder. They build so well off one another; it’s a natural fit.
The new cast all mesh in well, each serving their purpose with aplomb. You wouldn’t think so, but Jenna Ortega’s deadpan energy works, bringing an emotional level that grounds the film. Justin Theroux delights in the sleazy greasebag he plays so well. Also reveling in his role is DaFoe. True, like Bellucci (she has two awesome scenes: an introduction and a Bava-baked backstory, but she exists primarily to move the plot occasionally), he’s a bit extraneous but man is he having the best time and I loved every second of DaFoe, his enthusiasm, and his running gags. I need a spin-off movie; nay, a TV series, for Wolf Jackson, Afterlife Cop! It’d be a nice way to see more of the expanded Afterlife, living (dying) through his character.
The extended plot and world-building continued in these larger glimpses of the Afterlife. The movie shines in the sets, characters, and their actions. Bo Welsh, production designer of the original, is giving a consulting credit, assisting new designer Mark Scruton. The undead look great, with a heavy focus on practical effects over CG – even much of the “oh that’s CG” is meant to have a practical look. The Afterlife abounds with creativity in characters, their deaths, and the world they inhabit. Coleen Atwood’s costume designs are destined for award nominations. Pitch perfect. While we’re at it, Danny Elfman revisits and remixes his perhaps most iconic score (thanks to its continual trailer use) in great ways. I’ll gladly pick up the soundtrack. (Speaking of soundtracks, this may be the first time I’ve heard the real lyrics of “MacArthur Park”. I miss the dinosaur screams of “Weird” Al’s parody.)
Beetlejuice Beetlejuice is no half-assed legacy sequel, cashing in on a renewed interest from the Broadway show (though I’d bet its existence is due to the show). It’s incredibly crowd-pleasing, with an abundance of over-the-top performances (awesome) and plotlines (needs work). I’d rather a film trying to get as much out of it than one that feels like emptily going through the motions. There is great care to build an entertaining film over a fantastically designed world. I came in with trepidation but left immensely satisfied.
B+
