Preamble

Despite being in my top five comfort movies, the original Beetlejuice is actually quite a formative picture for me. Aside from being my introduction to Tim Burton, it also showed me how broad and satirical films can be (along with A Clockwork Orange and the original Dawn of the Dead). With that said, I’ve been equally hesitant and curious about a sequel. Have you seen Beetlejuice Beetlejuice? Let me know in the comments below.

Review

At this point, making a sequel to Beetlejuice would be as absurd as making a follow-up to Young Frankenstein. Sure, you could. But what would you have to say? Tim Burton’s sophomore effort left it on the field with a pointed satire that had the indifference of yuppie culture in its crosshairs. This quality came from moments that juxtaposed attempted hauntings with the complete lack of acknowledgement from its buffoonish rich characters. Instead, they’d react with a single-minded focus on a current trend or observation about decor. Despite being overindulgent and messy in places, Beetlejuice Beetlejuice plays like a fun carnival of surreal antics with occasional shots fired at new-age narcissism.

Burton’s 2024 sequel depicts the coming together of three generations of Deetz. There’s Delia (Catherine O’Hara), who recently lost her husband, her grown-up stepdaughter- Lydia (Winona Ryder) and her daughter- Astrid (Jenna Ortega). Through a recent tragedy, they attempt to navigate and heal their differences with occasional interjections from the undead and titular bio-exorcist- Beetlejuice (Michael Keaton).

Despite being years apart, Beetlejuice Beetlejuice has not lost its wild potency. This comes courtesy of Burton’s direction that’s composed and exciting. Long atmospheric tracking shots that depict an evocative and oppressive autumn combine with boom shots that effortlessly convey the blurred line between the living and the dead. At the same time, there’s also a commitment to the homemade practicality that made the original so charming in its almost Ed Wood esque quaintness (via looming tilting shots). These are punctuated by a claymation sequence and a black-and-white backstory scene that uniquely broadens the cinematic canvas of the first film.

The only bum note in newer elements is the depiction of the “Soul Train.” While it demonstrability wears its influence on its sleeve as much as the Gilliam and Dune fueled aspects of the afterlife in the original movie, it often comes across as too stereotypical and so obvious a choice that it becomes eye-rolling.

The screenplay by Alfred Gough and Miles Miller attempts to update the themes that permeated the original film by sending up contemporary trends and how they fuel male narcissism. This comes from Lydia’s love interest- Rory (Justin Theroux), who turns empathetic bonding into a form of control and narcissism (such as proposing to Lydia on the day of her father’s funeral). Likewise, an undead detective- Wolf Jackson (Willem Dafoe) makes his public service duty an extension of his living occupation as a stunt actor, complete with a catchphrase- “Make it real.” His character also feels the closest the film comes to being post-modern as his persistent line about being real is a recognition of Burton’s approach to the sequel. For better or worse, the screenplay does contain problems that plague certain Burton movies. Often plot points feel like they’re been chased around or clumsily laid down. Some elements are set up but never fully dealt with, and some sequences are indulgent in their weirdness (such as a second musical sequence that goes from being funny to annoying).

It’s also ironic that Beetlejuice Beetlejuice plays into the new age narcissism that it rakes over the coal via characters and scenes that have this look-at-me energy in attempting to appear meme-worthy. Some of the scenes featuring the titular character’s wife- Delores (Monica Bellucci) have this quality along with an end credit tribute to the character of Bob.

However, just like the strife between the three Deetz women, Beetlejuice Beetlejuice finds synergy and understanding in its satirical and emotional flourishes, which is ultimately why the picture worked for me.