‘Beetlejuice Beetlejuice’ Review: Pure, Genuine Fun (And Occasionally Gross)
Who could have imagined that Tim Burton’s quirky 1988 film Beetlejuice would finally get its sequel at the end of brat girl summer? But the long-anticipated follow-up, cleverly dubbed Beetlejuice Beetlejuice, is somehow not out of place amidst the pop culture landscape of 2024. Directed by Burton and written by Alfred Gough and Miles Millar, the fantastical comedy is a hilariously strange and charismatic voyage through Hollywood’s best creative minds and most skilled special effects magicians.
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BEETLEJUICE BEETLEJUICE ★★★1/2 (3.5/4 stars) |
Winona Ryder returns as Lydia Deetz, the once-goth teenager who has transformed her ability to see dead people into a lucrative reality TV show Ghost House with Lydia Deetz. Her producer and boyfriend Rory (Justin Theroux with a man bun) encourages her not to numb her gift with pills, even though she keeps having terrifying glimpses of Betelgeuse (Michael Keaton). Lydia and her eclectic stepmother Delia (Catherine O’Hara) are both now living in New York City, having left behind the ghostly events of the first film. But when Lydia’s father dies unexpectedly, the family is forced to return to Winter River—with Lydia’s estranged daughter Astrid (Jenna Ortega) in tow. Both mother and daughter are haunted by grief, as well as ghosts, including the loss of Astrid’s father, but neither can find a middle ground.
In the afterlife, meanwhile, Betelgeuse’s ex-wife Delores (Monica Bellucci) has literally stapled herself back together and is seeking revenge against the pin-striped afterlife exorcist, who now has his business running at full steam. Wolf Jackson (Willem Dafoe), a ghost detective, is on the case, but Betelgeuse is more concerned with reuniting with Lydia as she returns to Winter River. When Astrid gets mixed up with the dead, the worlds collide and Lydia is forced to turn to Betelgeuse, as grotesque as ever, for help. It’s a colorful, whimsical and sometimes disgusting ride, with laugh-out-loud moments you don’t see coming.
But more than that, Beetlejuice Beetlejuice is pure, genuine fun had by all involved. The practical effects, created by prosthetics and old school Hollywood technology, are incredibly crafted and a strong reminder of why CGI isn’t always the best option. Visual gags, like a deceased character being continuously chomped on by piranhas after dying in the Amazon, are clever and smart. The Soul Train, which the dead ride into the great beyond, riffs on variety show Soul Train. The movie revives its standout musical moment, Harry Belafonte’s “Banana Boat (Day-O),” in a way that had my theater shaking with laughter (there’s also a new musical scene that aims to top the original).
If there’s a downside to Beetlejuice Beetlejuice it’s that the film relies on knowledge of its predecessor. That’s expected for a sequel, of course, but there are potentially two generations of people who have never seen Burton’s early work. It could be disorienting to be dropped into the chaotic whirlwind of Beetlejuice Beetlejuice without understanding Betelgeuse, Lydia and the story that’s come before. It’s a new tale, certainly, and the new characters fall into the world seamlessly. But you can’t help by notice the absence of Jeffrey Jones, who played Charles Deetz in the original. The actor has worked very little since his child pornography charge in 2002 and Burton carefully omits him by giving Charles a death that ensures his dead form is headless for the duration of the film. Also missing are Alec Baldwin and Geena Davis, the stars of Beetlejuice, although Ortega aptly steps in as our connection between life and death in the narrative.
But any missteps are slight and quickly forgiven. This is a rollicking good time that pays homage to Burton’s legacy without being too caught up in the past. Ryder is in top form, as is Keaton, who clearly relishes playing this character again. As far as sequels go, this is a strong one. Beetlejuice Beetlejuice lives up to expectations while also being completely unexpected. It’s those moments of surprise that are the most delightful—and that should encourage Burton to consider returning to the characters for a third outing.