Director
Tim Burton

Starring
Michael Keaton, Winona Ryder, Catherine O’Hara and Jenna Ortega

Growing up in a household that devoured Tim Burton in the 80’s and 90’s, it only recently occurred to me that Beetlejuice was never a mainstay of our viewing habits. My brother and I would have watched Edward Scissorhands and Batman almost monthly as kids, but I probably only watched Beetlejuice once or twice. With the anticipation of this sequel in mind, I re-watched the first film just recently and realized quite quickly why it was never in the rotation. Awkward fact, I really don’t like Beetlejuice. I found it to be chaotic, nonsensical, and full of mostly unlikeable characters. I love Burton’s quirky and macabre stylings, but it just didn’t hit right for me. I can however appreciate how it was so beloved amongst many other film lovers. It really does sit alone in its uniqueness for that time period.  So with that in mind, my expectations for this sequel were pretty low.  Quite remarkably however, I was pleasantly surprised this time around.

Beetlejuice Beetlejuice serves as a deranged yet nostalgic sequel to the cult classic, immersing viewers in a world that’s both familiar and newly chaotic. The film brings back characters like Beetlejuice (Michael Keaton) and Lydia Deetz (Winona Ryder), while introducing Jenna Ortega as Astrid, Lydia’s rebellious daughter. Ortega’s portrayal breathes fresh energy into the film, standing out as the emotional core with her defiant yet vulnerable performance​. There was the interesting choice to semi-remove the character of Charles Deetz…or at least the actor who brought him to life in the first film (Jeffrey Jones). Given Jones was convicted of child sex offenses in the early 2000’s, the creators of the film faced a difficult decision on how to move forward with or without his character, and the end result (without spoiling anything) was a masterstroke. Catherine O’Hara is back as the self-indulged artist Delia Deetz, this time around giving it a little extra ‘Moira Rose’ flair, but there were other characters and elements that felt unnecessary.  Willem Defoe playing a former TV Cop, now detective of the afterlife and Monica Bellucci as Beetlejuice’s former wife who is now trying to track him down to steal his soul, both seem surplus to requirements.   Neither character or subplot really added anything of merit to the story and just detracted from some of the other more successful elements.

Keaton’s return as Beetlejuice is as chaotic and scene-stealing as ever, and given his limited screen time this time around, he leaves you wanting more rather than the over-the-top saturation that was prevalent in the first film. His humour remains dark and manic, especially in a climactic church scene that harks back to the first film’s offbeat charm. Winona Ryder’s Lydia, now an older and more world-weary character, provides a grounding presence, but probably at the detriment of her cutting angst that endeared her to audiences over 30 years ago.

Burton, given free reign, revisits his ’80s roots by embracing practical effects over CGI, creating a tactile, whimsical afterlife that feels handcrafted and surreal. The grotesque visuals, ranging from a burnt Santa Claus to a man who died in a hot dog eating contest, make it a darker take compared to the original to much success.

While Beetlejuice Beetlejuice is visually engaging and Ortega shines, the film’s plot can feel disjointed. It leans heavily on references to the 1988 film, which may alienate newcomers. Still, for those who loved the original, it offers a wild, darkly comedic ride that retains Burton’s signature gothic sensibility​.

In short, Beetlejuice Beetlejuice is an entertaining sequel packed with eccentricity, though it’s not without its flaws. Fans of Tim Burton’s strange and quirky worlds will likely find much to enjoy, but it might not resonate as strongly with a new generation of viewers unfamiliar with the original.

Beetlejuice Beetlejuice is in cinemas now.