Beetlejuice Beetlejuice (2024)
If you’re anything like me, your initial response to the Beetlejuice 2 trailer was one of disbelief. The trailer features slow, sweeping shots of the familiar, rundown settings from the original film, accompanied by a somber rendition of the classic theme song. It builds up to the return of the beloved character, culminating in the iconic title reveal Beetlejuice, Beetlejuice. This style of trailer is reminiscent of those for Star Wars, Top Gun, and Ghostbusters. It’s both disheartening and somewhat amusing to see Beetlejuice, a film originally meant to stand alone, become part of Hollywood's ongoing quest to launch new franchises.
However, I’m all for giving things a chance, so I decided to check out a matinee of “Beetlejuice 2” with a few friends. The story takes place 35 years after the events of the first film. The Maitlands are long gone, and Lydia Deetz (Winona Ryder) has turned her talents into a successful reality TV show reminiscent of Ghost Hunters. Her newfound fame has made her a local legend, creating a significant divide between her and her teenage daughter, Astrid (Jenna Ortega). A tragic event brings Lydia, Astrid, and Delia Deetz (Catherine O’Hara) back to their old home, where an unexpected encounter leads them down a bizarre journey filled with rogue demons, possessions, sham marriages, ghostly law enforcement, and ultimately, a run-in with the Ghost with the Most, Beetlejuice (Michael Keaton).
I can confidently say that this film wouldn’t be nearly as impressive without Tim Burton at the helm. Known for his distinctive gothic horror style and practical effects, Burton often brings to life a whimsically grotesque universe, reminiscent of works like Corpse Bride, Sweeney Todd, and Batman (1989). In recent years, however, he has shifted towards more CGI-driven blockbuster films, such as Miss Peregrine’s Home for Peculiar Children, Dumbo, and Alice in Wonderland. In many ways, “Beetlejuice 2” marks a return to his roots. It revisits a project he last explored in the 1980s and brings back his signature macabre style along with a heavy reliance on practical effects. These elements infuse the film with a vibrancy, aesthetic, and character that I haven’t encountered in a mainstream sequel for quite some time. The use of puppets, handcrafted sets, and costumes helps preserve its quirky, creepy charm, which is undoubtedly the highlight of the film. The portrayal of ghosts, ghouls, and goblins in the Beetlejuice series is quite distinctive, as far as I know. The film operates like a live-action cartoon in its humor, execution, and style, and it truly shines when it fully embraces this aspect.
This playful tone is wonderfully captured by two supporting characters: Wolf Jackson (Willem Dafoe), a ghost who was once a movie star turned cop, and Delores (Monica Bellucci), Beetlejuice’s wronged and vengeful wife. When the film leans into its identity as a live-action slapstick horror comedy, it becomes an absolute joyride.
Where the film fails most severely is its narrative. Credit where credit is due: the film does try very hard to have a beating heart at its center namely, the relationship between Lydia and Astrid. There’s also an interesting parallel between the first and second films with Lydia and her smarmy, business-savvy partner (Justin Theroux). But the core of the story is definitely between Lydia and Astrid. The film doesn’t really provide enough context for their relationship to make the audience invested, even if they can get past the legacy character not getting along with their child trope. And as much as I love Jenna Ortega, this film wastes her on a character who, by and large, is not that interesting. Astrid spends most of the film being resentful toward her mother, mourning the loss of her father, and resenting her mother for spending more time hunting ghosts than raising her. Unfortunately, screenwriters Miles Miller and Alfred Gough adopt a “tell, not show” approach to their relationship. As such, it’s hard to really get invested, especially when it becomes the focal point of Lydia’s arc. When Lydia’s arc wraps up, the closure is toothless, not impactful, and overdone. I will say there is maybe a 90-second scene toward the end that almost redeems this in a genuinely touching way, and had the screenwriters chosen to play it straight, it would have made a nice ending to the film.
As superb as the direction is, the script is all over the place. The performances here are doing a lot. Ortega is trying her best but doesn’t have much to work with. Ryder, O’Hara, and Keaton are all giving genuinely earnest performances, especially in a movie that’s as silly as this one. Keaton, in particular, does a lot here. Even at 73, his performance is animated, energetic, and well-timed. The film works best when it’s embodying the traits of Keaton’s performance: erratic, buffoonish, and cartoonish. The climax of the film works well, acting as something of a crescendo of lunacy.
In the end, "Beetlejuice 2" offers a lighthearted and entertaining experience at the cinema. If you're in the mood for some laughs, a good time, and impressive visual effects, you're sure to enjoy it. However, if you prioritize emotional depth in films, you might find yourself unimpressed by the emotional moments that occur amidst the spooky antics.
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