Grade: B+
Sometimes, the best step forward is a step backward. This sentiment is definitely true for director Tim Burton, who, after a slew of unsuccessful projects, released the sequel to one of his most beloved movies: the 1988 camp horror-comedy Beetlejuice.
But he doesn’t come alone. Burton brings along three stars of the first movie to reprise their roles in the sequel. Winona Ryder—most recently known for her portrayal of Joyce in Stranger Things—returns as a more mature, now celebrity psychic, Lydia Deetz. Catherine O’Hara is reintroduced as Lydia’s exaggerated stepmother, Delia, and Michael Keaton joyfully re-enters as the titular Beetlejuice. Burton also recruits a group of new stars including Willem Dafoe, Monica Bellucci, Justin Theroux, and Jenna Ortega to ensure the film isn’t reliant on pure nostalgia. Ortega—who starred in Burton’s Netflix show Wednesday—plays Lydia’s teenage daughter, Astrid.
Beetlejuice Beetlejuice begins when an unexpected death brings the Deetz family back to the site of the first film, Winter River. There, Lydia is surrounded by memories of her brief encounter with the afterlife’s favorite green-haired demon, and is plagued by his efforts to try to make her his bride back when she was a teenager. As Lydia spirals, Astrid grows distrustful of her mother’s visions and warnings. Her reluctance to believe her mother’s pleas leads her to accidentally open a door back into the underworld. In order to save her daughter, Lydia must summon Beetlejuice.
Meanwhile, Beetlejuice’s ex-wife, Dolores (Bellucci), has been released from her capture by a janitorial accident (a fun Danny DeVito cameo) and has her mind set on revenge. After hearing of her reappearance, Beetlejuice joins forces with ex TV cop, Wolf Jackson (Dafoe), to track down and dispose of Dolores.
Though the several unrelated story lines make it so the movie takes a while to fully get going, and make it feel choppy and weirdly paced, it hits a steady stride once the plot lines converge in the underworld.
Burton’s pop-culture references are truly top-notch with a flashback drawing inspiration from Mario Bava’s classic Italian horror films, a running joke about the ‘70s TV show Soul Train, and a reintroduction of a sand worm from the first film—which has always been a Dune reference—now with added special effects to wink at Villeneuve’s new adaptation.
The movie also provides several one-of-a-kind moments, including Dolores stapling herself back together, a stop-motion montage recounting a plane crash and a shark attack, and maybe the most awkward proposal scene ever filmed.
In true Burton fashion, the movie remains absolutely unpredictable and absurd until the end credits.
In true Burton fashion, the movie remains absolutely unpredictable and absurd until the end credits, ultimately culminating in a 10-minute scene that can only be described as a wedding party lip-sync music video to Richard Harris’ “MacArthur Park,” complete with demonic possessions, multiple objections to a marriage, and a 15-foot drooling wedding cake. It is one of the most vivid, confusing, euphoric, and truly entertaining sequences in recent memory.
Burton’s direction is another true standout as he returns to the colorful sound stages, practical effects, and stop-motion animation sequences that gave him a distinct voice when he first rose to fame. It’s also refreshing to see a major director reject advanced computer generated effects in lieu of vibrant and interesting art pieces.
Though there is nothing spectacular about Burton’s shot choices—aside from a couple of dolly cams that make Dolores seem like she’s floating—the more simplistic direction highlights the insanity of the movie’s plot, rather than distracting from it. Burton’s simplistic approach also helps keep the focus on his stellar cast, especially comedic standouts O’Hara, Theroux, and Keaton.
O’Hara doesn’t have much to do as Delia, but she manages to be utterly hilarious every second she’s on-screen. Her understanding of comedic timing is impeccable, and her deadpan looks and over-the-top vocal inflections are killer.
Theroux provides a sticky, slimy performance as Lydias’s new boyfriend, Rory, who weasels in and out of situations with ease. Rory is a truly awful person, but Theroux’s flawless comedy makes it hard not to root for him anyway.
Finally, Keaton’s performance as Beetlejuice is every bit as raucous as it was the first time. He’s in his element, radiating pure energy through his wild personification of the underworld’s leading freelance bio-exorcist.
Ryder and Ortega have the tough assignment of holding the emotional weight of the movie in such unserious situations, which they both do relatively well. Though Ryder tends to over-act a bit and Ortega’s delivery can be a little cringy, both shine in the film’s climactic moments.
As was the first Beetlejuice, Beetlejuice Beetlejuice is an unpredictable romp full of delicious comedic moments, beautiful art pieces, and simple direction. Even though the script can seem disorganized and cluttered at times, it never fails to capture the spirit of the Beetlejuice franchise.
