By Lucy Nixon -
Burton. Burton. Burton. Where have you been hiding? With special thanks to a certain ‘Ghost with the Most’,Beetlejuice Beetlejuiceseems to have reignited Tim Burton’s passion for the warped, weird, and wonderful.
Few filmmakers captivated my early adolescence quite like Burton. Countless viewings ofSleepy Hollow, Edward Scissorhands, and Beetlejuice occurred before I hit double digits, yet he has seldom crossed my mind in recent years, not sinceBig Fish. After his lacklustreDumbo, you would be forgiven for thinking there was no hope of returning to Winter River or any place like it, and yet, here we are.
We’ve seen many attempts at remakes and sequels relying on a hit of nostalgia to make it work. Hocus Pocus 2 is a prime example. We watched it; it’s natural to chase that original high. But none have stuck the landing quite likeBeetlejuice Beetlejuice.
While there is no Beetlejuice without Betelgeuse and no Betelgeuse without Michael Keaton, there can be no sequel without the return of the ‘strange and unusual’ Lydia Deetz, reprised by Winona Ryder, and Catherine O’Hara’s Delia Deetz, who remains the undisputable MVP. Jenna Ortega is a welcome addition to the family as Lydia’s estranged daughter, Astrid.
Thirty–six years have passed since Lydia narrowly escaped unholy matrimony with the afterlife’s most undesirable bachelor. Now in front of the camera, rather than behind it, Lydia has found fame as a supernatural medium with a primetime TV show. Plagued by visions of Betelgeuse and grappling with her fractured relationship with Astrid, she leans on her asinine producer and beau, Rory (Justin Theroux), to cope.
The Deetz trio are compelled to return home to Winter River after an unexpected tragedy: Lydia’s dad died in a freak shark attack. The particulars of his demise are a fitting tribute to the legacy of Jeffery Jones, which deserves no exposition here. Things soon go awry when the rebellious Astrid discovers a mysterious portal to the afterlife, forcingLydia to face her fear: Beetlejuice. Beetlejuice. Beetlejuice.
If there’s one thing Burton does best, it’s bringing a vibe, and oh boy did he deliver. Is it littered with fan service? Of course. Does this hinder it? Not in my books. His indulgence in campy practical effects remains; they are a feast for the eyes, and one cannot help but be enamoured by the surreal realm he invites us to inhabit. Not even the grotesque appearance of characters like Danny Devito’s grimy janitor, slime oozing from his mouth, is enough to repulse me. If anything, it draws me in.
It would be a crime not to mention the standout performances of O’Hara and Theroux, whose renditions left me in stitches, especially contrasting with the more serious and morose Ortega; their chemistry was off the charts. I will say no more here for fear of spoiling some spectacular moments.
Keaton’s ability to maniacally jump from unhinged ramblings to deadpan delivery remains unparalleled. It’s been three and a half decades since he donned that iconic striped suit, yet his performance is so on point it’s as if he never took it off. He can do no wrong. I don’t think you’re supposed to be charmed by Betelgeuse, but I am. Is there something wrong with me? That’s a conversation for my therapist. Hilarious and charismatic, for an undead guy, he really brings this film to life.
While Keaton is the spark, Ryder and Ortega are the heart. Lydia has lost her free–spirited nature over the years, as many of us do in our transition to adulthood. Ryder’s tender characterisation brings a sense of authenticity, a relatability you wouldn’t expect to find amongst the chaos of Burton’s bizarre creation. Astrid, too, is suffering from loss, and the pair must face literal and figurative demons to heal and find themselves again.
Beetlejuice Beetlejuice‘s shortcomings lie in a frail script and underutilised newcomers Willem Dafoe and Monica Bellucci. Dafoe is a tour de force as the former action star turned incompetent afterlife detective, Wolf Jackson. Bellucci’s eerie portrayal of Betelgeuse’s soul–sucking ex–wife, stalking the halls of the afterlife, hellbent on revenge, was inspiring. Did they suffer from a limited runtime, or was Burton unsure what to do with them? In either case, although they served a purpose, their lack of development left me wanting.
I don’t want to see a third film. However, I am thankful for this worthy follow–up of a cherished childhood masterpiece. It might not meet your expectations; very few sequels do. But it remains faithful to the character of the original, and in that spirit, I say begone with your expectations and enjoy the ride – it’s showtime.
PS: #JusticeForBob
Verdict: 3 out of 5 stars
For the grown–up kids who once muttered the words’ Beetlejuice. Beetlejuice. Beetlejuice.’ in hopes that it would invite some magic into their lives and others who have long awaited the return of Tim Burton at his (almost) best.
