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Review: Despite its charm, ‘Beetlejuice Beetlejuice’ sequel shouldn’t have been summoned

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Review: Despite its charm, 'Beetlejuice Beetlejuice' sequel shouldn't have been summoned

As a child of the ’80s and ’90s, “Beetlejuice” was an integral part of my formative years. The wild-haired, eccentric character brought laughter, terror, and a touch of nostalgia to countless homes during sleepovers and family movie nights. So, when I heard that a sequel was finally in the works after three long decades, I couldn’t help but feel a mix of excitement and apprehension.

1988 saw Tim Burton’s “Beetlejuice” leave an indelible mark on popular culture; it seems as though the eccentric “bio-exorcist,” portrayed by Michael Keaton, has been a constant presence for many millennials who were repeatedly captivated by this unique blend of horror and comedy. The film was both critically acclaimed and commercially successful, leading to an animated series and eventually a Broadway musical adaptation. Now, 36 years after “Beetlejuice” catapulted Winona Ryder into stardom, a long-awaited sequel titled “Beetlejuice Beetlejuice” is finally gracing cinema screens.

For years, discussions have circulated about making a sequel to the popular movie, with drafts written for “Beetlejuice Falls in Love” and “Beetlejuice Takes a Trip to Hawaii.” However, it took three decades for a plan to materialize due to the demand for anything reminiscent of the past. Given our current cultural climate’s fascination with nostalgia, a sequel seems fitting now more than ever.

“Beetlejuice Beetlejuice” returns where we started, in Winter River, Conn. (and the afterlife, of course). Ryder’s iconic character Lydia Deetz — who defined quirky-goth Gen X cool with her jagged bangs and black humor — is now a mother with a job. She hosts a paranormal TV show called “Ghost House” and, karmically, struggles to parent a surly teen, Astrid (Jenna Ortega), who eye-rolls at Mom’s new boyfriend, her producer, Rory (Justin Theroux), who is obsessed with sensitive therapy speak.

Lydia’s family, which includes her stepmother Delia (Catherine O’Hara), a conceptual artist, gather once more in Winter River after Lydia’s father passes away. (In the original movie, Jeffrey Jones played Charles Deetz, who meets an unusual end through a plane crash and shark attack, resulting in his character having a headless and shoulderless existence in the afterlife.)

In a slightly different phrasing: “Beetlejuice Beetlejuice” is an unconventional family comedy that delves into themes of death and real estate, but it aspires for something more profound by exploring the emotional depths of connecting with the departed. The character Astrid, who’s skeptical about ghosts, becomes intrigued when she gets a chance to visit the afterlife, longing for contact with her late father (played by Santiago Cabrera). Meanwhile, Lydia, plagued by spectral visions and feeling the proximity of Beetlejuice, seeks reconciliation with her haunting experiences.

Regarding that gentleman, he’s dealing with some personal troubles at his office, primarily an ex-wife, Monica Bellucci, who seems to be persistently present and somewhat intimidating. Bellucci’s chic but minor appearance in the film reflects some of the structural problems found in “Beetlejuice Beetlejuice,” such as an overabundance of famous faces. Some roles are essentially brief appearances (Danny DeVito), while others appear forced and detract from the main narrative (Willem Dafoe, portraying a deceased actor transformed into a noirish afterlife investigator).

Following an initial hour that seems artificial and overly structured, “Beetlejuice” momentarily gels for a short while in the middle, showcasing the eccentric and captivating camaraderie between Ryder and Keaton as they embody their characters. However, the movie subsequently spirals into frenzied, hurried disorder. Director Tim Burton, along with screenwriters Alfred Gough, Miles Millar (with Seth Grahame-Smith credited for the story), seem to throw characters, monsters, and familiar backdrops into a blender, resulting in an exhilarating mix of sandworms, songs, disco, and more.

Watching “Beetlejuice” isn’t an unpleasant journey at all; it keeps its signature offbeat, dark, and captivating style intact. The underworld in this film is meticulously designed, and Tim Burton’s combination of CGI and traditional effects retains some of the original charm.

Certain qualities are undeniable, such as Keaton’s command of this character and O’Hara’s unique wit. Ryder has the heaviest performance lift, transitioning her character from teen to mom, but she finds her groove in the back half of the movie.

However, this revamped version seems to lack the unique and authentic “hyper-real twisted suburban” feel that production designer Bo Welch infused into the original and “Edward Scissorhands.” Instead of evoking a sense of one-of-a-kind craftsmanship, it appears more like mass-produced merchandise designed for a modern audience. It’s a confusing blend of rehashed elements that leaves us questioning the necessity of reviving this project at all.

Walsh is a Tribune News Service film critic.

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2024-09-07 14:12

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