Tim Burton is back at it with Beetlejuice Beetlejuice, a sequel no one really asked for, but hey, here we are, because apparently Hollywood just can’t resist digging up the dead — quite literally in this case. This long-awaited follow-up to the 1988 cult classic offers a messy mix of nostalgia and new antics, and while it doesn’t entirely collapse into a grave of its own making, it sure does stumble through a cemetery of problems. Let’s dive into this chaotic cocktail of ghoulish hijinks, shall we?
Plot: Too Much of Everything
Where the original Beetlejuice was delightfully simple — ghosts haunting a house, rich folks being annoying, and a deranged ghost-for-hire mucking it all up — Beetlejuice Beetlejuice tries to be so much more. It doesn’t need to be. We follow Lydia Deetz (Winona Ryder) through a life that’s still as morbid as ever, now complicated by an estranged daughter, Astrid (Jenna Ortega), who accidentally resurrects good ol’ Betelgeuse. Cue the afterlife chaos.
But wait, there’s more! We’ve also got Beetlejuice’s ex-wife Delores (Monica Bellucci) out for revenge, Lydia dealing with her deceased husband (who, unsurprisingly, isn’t sticking to the “deceased” part), and an afterlife law enforcement force led by — get this — Willem Dafoe. Yes, Willem Dafoe, with half of his brain visible, cracking jokes while playing a dead action star. Burton apparently decided to jam-pack this movie with everything and the kitchen sink from the afterlife, which results in a plot so bloated it could haunt a buffet.
There’s no denying that each subplot could have made for a decent movie on its own. Lydia and Astrid’s estranged relationship is ripe for exploration, and Beetlejuice’s marriage troubles could have been a film of its own. Instead, the film crams these threads together, creating a jumbled mess that tries too hard to do everything, and as a result, does nothing particularly well.
Performances: Keaton’s Back, Baby!
Let’s be real. Beetlejuice Beetlejuice could’ve been a disaster of epic proportions, but as long as Michael Keaton is around, we’re still in for a treat. Keaton is a one-man show, slipping back into the role of Beetlejuice like a demented glove. His energy is contagious — and thank goodness for that because the film would flatline without him.
Keaton’s comedic timing, the grimy charm, and that devilish cackle are all in top form, reminding us why we loved this crazy ghost in the first place. But here’s the catch: instead of the zany, scene-stealing cameo character from the original, Beetlejuice is now a co-lead, and that’s where the charm starts to fade. You can only take so much of a good thing before it becomes… well, a little too much. The ghost’s antics get repetitive fast, and after a while, the joke doesn’t feel as fresh.
Winona Ryder’s return as Lydia is a bit of a double-edged sword. On one hand, it’s heartwarming to see her again. On the other, Lydia feels like she’s stuck in neutral, a character trapped in a narrative that’s trying to move forward but keeps looking over its shoulder at the past. Jenna Ortega as Astrid, however, injects the film with much-needed youthful energy, her sarcastic, teen angst blending perfectly with Burton’s gloomy aesthetic.
Visuals: Practical Effects Still Have a Pulse
If there’s one thing Tim Burton hasn’t lost his touch with, it’s his eye for design. Beetlejuice Beetlejuice is a visual feast of grotesque and ghoulish creations. The practical effects shine here, a refreshing break from the CGI sludge that so often passes for special effects these days. The attention to detail in the afterlife sequences is stunning, with everything from shrunken heads to twisted versions of everyday objects contributing to a delightfully eerie atmosphere.
Burton’s crew has clearly gone all-in on making this world feel hand-crafted and tangible. The set design, puppetry, and overall gothic carnival aesthetic are arguably the film’s strongest suits. Every corner of the screen is filled with quirky details, bringing that signature Burtonesque flair that makes you want to pause and take it all in. However, just like the plot, it can sometimes feel like sensory overload. There’s so much going on visually that the story often gets lost in the spectacle.
Humor: Spooky, but Running on Fumes
One of the key elements that made the original Beetlejuice such a classic was its dark humor. The jokes were sharp, the gags perfectly timed, and Beetlejuice’s off-kilter energy added an unpredictable edge to the story. In the sequel, the humor is still there, but it’s not nearly as sharp. The film relies heavily on references to the original, which land — but not always.
Sure, seeing Danny Elfman’s original score blare out over a scene is a thrill, and the nods to the classic “Day-O” number are sure to get a chuckle. But how many times can you rehash the same gags before they start feeling stale? The film answers that question with an “as many times as we want” approach, which doesn’t quite pay off. What starts as a fun trip down memory lane becomes a bit of a grind, and by the third or fourth callback, you might find yourself eyeing the exit.
What Works: Keaton, Nostalgia, and Burton’s Imagination
Despite its flaws, Beetlejuice Beetlejuice isn’t without its charms. The film does succeed in capturing the nostalgic essence of Burton’s earlier work. Fans of the original will appreciate the return of Keaton, Ryder, and the gorgeously macabre set pieces. Burton’s knack for visual storytelling is alive and well, and his twisted vision of the afterlife is still as darkly delightful as ever.
And then there’s Keaton. Honestly, he deserves his own bullet point here. If nothing else, watching him gleefully prance around in the role he was born to play is worth the price of admission.
What Doesn’t Work: A Bloated Plot and Rehashed Jokes
But for every spark of brilliance, there’s an equal dose of frustration. The overstuffed plot bogs down what could have been a fun, breezy sequel. It’s not that the film is bad — it’s just trying too hard. Too many subplots, too many callbacks, and not enough restraint. Instead of building on the charm of the original, it smothers itself under the weight of its own ambition.
Ultimately, the humor doesn’t always land, and the movie feels more like a string of set pieces loosely held together than a coherent film. It’s fun while it lasts, but much like the undead themselves, you might leave feeling like something was missing from the experience.
Verdict: A Fun, Flawed Resurrection
Beetlejuice Beetlejuice is a bit of a mess, but it’s an entertaining one. If you’re a die-hard Burton fan or just looking for some Halloween-adjacent fun, it’s worth a watch. Michael Keaton is as electric as ever, and the film’s visuals are a feast for the eyes. But if you’re expecting the same magic that made the original Beetlejuice a classic, you might walk away disappointed. Call it once, enjoy it for what it is, and maybe leave it at that. No need to summon it three times.
