Movie: “Beetlejuice Beetlejuice”
Director: Tim Burton
Starring: Michael Keaton, Jenna Ortega, Winona Ryder
Studio: Warner Bros. Pictures
Rating: 6/10
Thirty years after his debut, one of the heroes of “spooky season” is back on the silver screen. Directed by Tim Burton and scored by Danny Elfman, “Beetlejuice Beetlejuice” includes many elements of Burton’s signature style.
This time around, the Deetz family reunites and returns to the “ghost house” from the first film. Sporting sharp mini bangs and a black lace dress, Winona Ryder’s 1988 character, Lydia Deetz, is reintroduced as a paranormal television hostess and mother to brooding teenager, Astrid (Jenna Ortega). Lydia’s stepmother, Delia (Catherine O’Hara), and Betelgeuse (Michael Keaton) also return with the same quirks as before. New characters include Rory (Justin Theroux), a pretentious TV producer who works with Lydia on her show, and Delores (Monica Bellucci), a woman from Betelgeuse’s past looking for revenge.
Like many sequels, much of the film’s content rehashes jokes from its predecessor. Almost every recognizable character is brought back for nostalgia’s sake, as if there’s a checklist for each scene. Impatient secretary in an underworld waiting room? Check. Pessimistic teenager? Check. Handbook for the Recently Deceased? Check.
Apart from some scenes like the morbidly hilarious animated sequence near the beginning of the film, “Beetlejuice Beetlejuice” relies less on creative makeup or practical effects and more on the uniform computer graphics seen in most blockbuster films of the last ten years. While this might be acceptable for other films, to reduce the handmade special effects from a Tim Burton production that specializes in creepy creatures and undead characters is to strip it of its appeal.
While scenes with the living are sometimes tedious, the original cast members inject the most life into an otherwise generic film. These actors remain consistent in their portrayals of their beloved characters — O’Hara even maintains her subtle no-eye-contact acting. Running gags like William DeFoe’s role as an undead hard-boiled detective and Rory’s attempt to blend with an uninterested family, as well as a brief cameo appearance from Gen Z favorite Danny DeVito, keep the energy going, but these scenes feel like a waste of time compared to Betelguese’s sleazy charisma.
Much like in her well-known Burton-directed show “Wednesday,” Jenna Ortega ushers in a new era of sullen teenagers, but her costuming and acting simply doesn’t have Ryder’s efficacy.
Despite this, there are moments of value in “Beetlejuice Beetlejuice.” Sardonic jokes are peppered throughout the film, derived from sources like pill-popping and plane crashes. Physical comedy is present in some scenes, especially those with the titular character. The last half hour of the film is far more entertaining than the rest, featuring as much lip-syncing and references to 60s and 70s popular culture as a viewer could hope for. While Harry Belafonte songs were utilized in the original 80s film to add kitsch value, songs like “Tragedy” by the Bee Gees and the melodramatic “MacArthur Park” by Richard Harris lend much needed camp aesthetics to this sequel. If a viewer has patience, they will be treated to a wonderfully topsy-turvy ending.
For fans of the original film and (almost) everything that makes Tim Burton unique, “Beetlejuice Beetlejuice” will be an enjoyable watch this season. For those seeking originality, this highly derivative sequel should be avoided like Betelgeuse, Betelgeuse, Betel—
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