‘Beetlejuice Beetlejuice’ Review: Winona Ryder and Michael Keaton Help Tim Burton Rediscover the Ghoulish Mischief of His Glory Days

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As a longtime fan of Tim Burton’s whimsical and macabre creations, I must say that diving back into the world of Beetlejuice after decades has been an absolute delight! The movie feels like a warm, fuzzy (or rather, slimy and eerie) hug from an old friend. Willem Dafoe’s portrayal of Wolf Jackson, the former TV action star turned detective, is nothing short of hilarious, with his cheesy direct-to-camera glances adding just the right amount of camp to the mix.

In the beginning of the surprisingly enjoyable movie ‘Beetlejuice Beetlejuice’, there’s an imaginative sequence where Monica Bellucci’s soul-sucking demoness dances to the Bee Gees’ “Tragedy”. Her dismembered body parts, recovered from crates in a warehouse of lost souls, are reassembled by her like a DIY Frankenstein monster. This scene serves multiple purposes: it connects with the actress’ role as a vampire bride in ‘Bram Stoker’s Dracula’, pays homage to Tim Burton’s influence from Gothic literature, and offers a tantalizing tribute to his long-term partner off-screen.

In this witty follow-up brimming with laugh-out-loud moments echoing the 1988 classic and a delightful mix of pop-culture tidbits, ranging from “Carrie” to Mario Bava, and “Soul Train” to Donna Summer, I found myself jotting down “Tim Burton’s back!” more than once in my excitement.

A sequel appearing 36 years after its original deserves a careful watch, and in this case, it’s even more prudent given that Tim Burton, with only one notable exception (2012’s Frankenweenie), seems to have lost his creative spark around the turn of the millennium, according to this reviewer.

Drawing inspiration from one of his iconic, whimsical films from the past, this director appears to have found new energy. He’s offering a similar flavor for two actors who were not just central in the original Beetlejuice but also in Burton’s Batman movies and Edward Scissorhands: Michael Keaton and Winona Ryder. The identity of another actor from Batman Returns can be found in the credits, but their subtle extended appearance deserves to be kept under wraps as a surprise for viewers.

In the world of Hollywood, it’s become common practice to exploit successful intellectual properties (IP) with the aim of creating endless franchises, which has led many to be skeptical. So, there’s a sense of refreshment for viewers when they encounter a revived movie property that is genuinely enjoyable – not just another cash grab – and one that clearly has its own unique purpose or value.

I lit up a cigarette, feeling reassured that I was in capable hands when Summer’s spooky rendition of “MacArthur Park” transitioned to Danny Elfman’s score in the eerie film, Beetlejuice. The camera, skillfully operated by DP Haris Zambarloukos, smoothly glided through Winter River’s peaceful townscape before reaching the foreboding hilltop mansion, newly acquired by the Deetz family.

Warner Bros. has been attempting to produce a sequel since the 1990s, with notable efforts post-2011 when Seth Grahame-Smith was hired by the studio to write the script. More recently, Burton’s success in creating this long-awaited follow-up can be attributed to his collaboration with writers who worked on Netflix’s ‘Wednesday’, including Jenna Ortega, who stars in that series. Ortega joins a returning cast that includes Keaton, Ryder, Catherine O’Hara, and the diminutive Bob.

Now sporting the same edgy black bangs she had as a goth teen, Lydia Deetz – who is now a well-known widowed mother and host of the reality show “Ghost House” – invites viewers to enter her studio attic set with the ominous words, “Come in if you dare.” Following the blueprint of many paranormal shows, Lydia encourages her guests to recount spine-tingling encounters with mysterious occurrences in their homes. However, a startling image of Beetlejuice, played by Keaton, among the studio audience hints that Lydia’s own haunted past may still linger, unresolved.

Lydia’s daughter, Astrid (Ortega), has a troubled bond with her mother due to Lydia spending more time communicating with spirits than with Astrid herself. This angers Astrid because she feels that her mother should be focusing on her instead, and she resents Lydia’s unwillingness to discuss her late father, Richard (Santiago Cabrera), who tragically passed away in the Amazon. Even though Astrid doesn’t believe in Lydia’s spiritual abilities, she bitterly complains that she can’t talk to Richard, the one spirit she longs to connect with.

Over time, the strained relationship I shared with my artist stepmother Delia (O’Hara) has softened, though she’s grown more engrossed in herself as she ventured from sculpture into mixed media. Her latest exhibition, titled “The Human Canvas“, showcases not just any canvas, but Delia herself – her face, her body. As a gamer, I can’t help but see this as an intriguing new level in the game of life she’s creating.

The authors devise an inventive method to address the tricky predicament concerning Jeffrey Jones, who portrayed Lydia’s father Charles in Beetlejuice. In a lively Claymation scene reminiscent of Burton’s style, we discover that Charles has met a grisly end; however, in the world of Beetlejuice, death is more like a rest stop than a final destination, so his presence persists despite the disappearance of his original body.

Barbara and Adam Maitland, the charming yet tragically departed pair portrayed by Geena Davis and Alec Baldwin, may be absent, but as per Lydia’s interpretation, there seems to be a loophole involved. “How fortunate,” Astrid remarks skeptically, hinting at a subtle nod from the writers.

Charles’ funeral, marked by a playful boys’ choir performing a hymn-like rendition of Harry Belafonte’s “Day-O” as a touching tribute, reunites the family at Winter River. Joining them is Lydia’s producer and impending fiancé Rory (Justin Theroux), whose small ponytail labels him as insincere, and whose “New Age, overly sentimental, yoga-retreat nonsense” Astrid finds utterly distasteful.

Delia decides to cover her entire house in black fabric, reminiscent of Christo’s work, as she transforms her personal grief into an artistic expression titled “The Art of Sorrow“. Meanwhile, Rory sees Charles’ funeral as the perfect moment to propose to Lydia, who is taken aback but agrees. Astrid feels disgusted and leaves for town where she encounters Jeremy (Arthur Conti), a fellow admirer of Dostoevsky and a laid-back contemporary. They arrange to meet on Halloween night, which coincides with her mother’s planned wedding during the “Witching Hour”.

Meanwhile, Delores Bellucci is causing havoc in the underworld, mercilessly slaying its inhabitants as she pursues her goal: to obtain her husband Beetlejuice’s corrupted soul. A humorous twist that garnered much laughter at the Venice press screening involves a brief recap of their ghost marriage in the form of a black-and-white, subtitled Italian mini-movie. Following Delores’ path of devastation is Wolf Jackson (portrayed by Willem Dafoe), a former action star turned detective, who often breaks the fourth wall with dramatic direct-to-camera looks for added effect.

In this situation, both the living (or Jackson’s term for them, “fleshbags”) and the deceased become entangled when Astrid is deceived into a perilous agreement, and Lydia is compelled to evoke Beetlejuice to assist her in crossing over and saving her child. Since Beetlejuice isn’t fond of doing favors without payment, an innovative wedding plan arises as a means of freeing him from Delores. This complicated scheme, which presents a horrific scenario, is beneficial for Lydia because she has knowledge of the predatory sandworms in the desert landscape of the afterlife’s exile, which proves useful in this situation.

The lively tempo, upbeat spirit, and continuous flow of hilarious scenes suggest that Burton is genuinely enjoying returning to this universe, a joy that’s infectious for those who loved the original film. This enthusiasm extends to the cast as well, each embracing the whirlwind insanity with charm.

Although the dual-titled production may initially seem like it’s all about Keaton, he is by no means the sole focus. He still delivers his share of humorous moments, appearing as disheveled and unkempt as usual, even sharing screen time with cockroaches. However, he graciously allows other talented actors in the robust cast to shine alongside him.

One of his most thrilling segments features him acting as a mischievous relationship advisor, where Rory suggests Lydia should confront “this structure of your past trauma.” (The hilarious emergence of the malicious baby Beetlejuice in that scene results in one of Neal Scanlan’s most ingenious animatronic creations.)

In Beetlejuice, the use of Belafonte’s “Day-O” stands out as a memorable highlight, but the filmmakers and Keaton take it up a notch with “MacArthur Park” during the chaotic wedding finale. They push the boundaries of possessed lip-syncing and dance moves even further. The wedding cake adorned with sweet green icing cascading down is a joyful ode to some of the quirkiest lyrics ever written in music. Moreover, the outcome of an influencer gathering inside the church (orchestrated by Rory, who boasts nothing less than five million followers), will bring satisfaction to anyone who has ever scoffed at that career path.

In the movie, Ryder perfectly complements Keaton, serving as the soft, enchanting counterpoint to his eccentric, irreverent character. She skillfully recaptures the captivating screen presence she had in her late teens, not only in “Beetlejuice” but also in films like “Edward Scissorhands,” “Mermaids,” and “Heathers.” In these roles, she exuded a unique blend of intelligence, sweetness, and innocence, yet was equally powerful when she delved into the shadows. Above all, “Beetlejuice Beetlejuice” is a poignant portrayal of a mother-daughter relationship, beautifully depicted by both Ryder and Ortega with genuine emotion.

The enjoyment derived from this film is not limited to its storyline; it also includes Zambarloukos’ vibrant visuals and Elfman’s score that showcases the best of his collaborative work with Burton while still offering unique, fresh sounds. Colleen Atwood, another frequent collaborator, delivers impressive costume designs for characters from both life and death realms. Meanwhile, Mark Scruton, the production designer, relishes the opportunity to create an entirely new system of afterlife waiting rooms, bureaucratic offices, and departure zones.

The intricate craftsmanship of this movie is undeniably extensive, yet it’s one of its appealing aspects that the physical sets, puppetry, and magical effects maintain a homemade aesthetic, reminiscent of the more rudimentary special effects technology available in the late ’80s. It’s satisfying to see Tim Burton once again wielding his creative prowess over the humor, whimsical creativity, and delightful macabre elements that have been the cornerstone of his career.

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2024-08-28 20:56