Sometimes it takes a little help from the great beyond to get things back on track. That’s not only the case for the characters in “Beetlejuice Beetlejuice” but also for Tim Burton, who has seen his cinematic mojo wane dramatically over the past decade. Can returning to the genre Burton is known for and resurrecting the ghost with the most after nearly forty years satisfy audiences?
A lot has changed since we last saw the Deetz family. Lydia (Winona Ryder) is the host of a cheesy, yet wildly popular ghost hunter show. Her slimy producer, Rory (Justin Theroux), is her current romantic partner whom she met in a support group after losing her husband. She also has a disillusioned daughter, Astrid (Jenna Ortega), who thinks the paranormal is pure fiction. The only character who hasn’t changed much is Delia (Catherine O’Hara) who is as self-centered and eccentric as always. Each member of the family lives in a different city but is brought together by the hilariously over-the-top death of the father Charles. The way the film avoids bringing the previous actor back is quite funny, although the running gag makes too many appearances.
The family reunites in the village of Winter River to mourn their loss and finally sell the home. This leads to Astrid discovering the model town in the attic and the entity Beetlejuice (Michael Keaton), who is going through a rather traumatic event himself. His estranged and dismembered ex-wife Delores (Monica Bellucci) has returned, seeking vengeance.
For a movie that is only an hour and forty-five minutes long, the script does an exceptional job of weaving multiple sub-plots together. There are so many moving plots that the film barely slows down for a breath, but it never becomes overwhelming or confusing. The downside is that the resolutions in the third act happen a bit too quickly and cleanly. It’s better than having drawn-out climaxes, but when you introduce interesting characters, it’s a little unsatisfying when they are gone at the snap of the fingers. (To be fair, I’m a bit biased and firmly believe every movie would be better with more Monica Bellucci.)
Tim Burton is clearly back in his element. “Beetlejuice Beetlejuice” is aesthetically perfect, retaining the same weird, creepy, surreal look of the original while building on the lore. The film intentionally leans on practical effects far more than digital, and the love put into creating this crazy world is visible in every frame. The humor, whether verbal or physical, all works, especially when mixed with random grossness. The film may fall short of being perfect in a few areas, but it’s exceptionally fun, and one of the very best “legacy sequels” we’ve seen to date.
Beetlejuice Beetlejuice
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