As a diehard “Beetlejuice” (Tim Burton, “Edward Scissorhands”) fan and an avid sequel hater, I had extremely mixed feelings before seeing “Beetlejuice Beetlejuice.” I walked into the movie theater, Beetlejuice-inspired slushie in hand, ready to revisit the whimsically gothic world of Tim Burton, accepting the possibility of having it slightly ruined. But, I’ll admit, I was pleasantly surprised. The film recreated some of the original film’s magic and macabre humor while exploring a new plot. However, “Beetlejuice Beetlejuice” ultimately fell victim to the inevitable sequel curse, slipping into the shadow of its more successful predecessor.
“Beetlejuice Beetlejuice” takes place 36 years after the original, as the Deetzes return to their hometown of Winter River, Conn., in the wake of a family tragedy. Michael Keaton (“Batman”) returns as the chaotic bio-exorcist demon (or ghost?) Beetlejuice, haunting a now-adult Lydia Deetz (Winona Ryder, “Edward Scissorhands”).
The plot is surprisingly novel, but some of the character choices might throw off fans of the original. Adam and Barbara Maitland (Alec Baldwin, “The Hunt for Red October” and Geena Davis, “Thelma & Louise,” respectively), the protagonists of the 1988 film, were only referenced in a throwaway line. The quiet loner Lydia has somehow become a star of a supernatural TV talk show. It seemed like writers came up with the plot first, then started spitballing ideas for character development. The poorly explained absence of the Maitlands in particular felt strange because they were so essential to the original. Although the film explored the storylines of its new characters well, a better explanation for their disappearance would’ve been much more satisfying.
As I watched the film, I became worried about the fates of all the original’s characters. Then, a miracle happened. Catherine O’Hara (“Home Alone”) enters the screen at about the 15-minute mark. Of all the characters in the film, O’Hara was best able to capture what made the original so lovable, transporting me back to 1988. Her campy, eccentric portrayal of the artsy Delia Deetz perfectly matched Burton’s dark comedy and restored my faith in the movie. Similarly, new additions Jenna Ortega (“Scream”) and Willem Dafoe (“Spider-Man”) fit naturally into the Burton universe, without any of the awkwardness that sometimes plagues new characters.
Burton’s iconic style was also a high point in the film. Stunning autumnal New England vistas were juxtaposed with creepy, cartoonish supernatural locations. It’s kind of weird seeing a modern Burton film — the camera a little too clear, the smartphones seeming a little out of place — but “Beetlejuice Beetlejuice” still managed to evoke a feeling of nostalgia. Composer Danny Elfman’s (“Batman”) score similarly transported me, breathing life into scenes while featuring a few nods to the original movie (i.e. a somber reprise of “Banana Boat (Day-O)”). The music and visuals built the film’s whimsically macabre style. A certain standout flashback scene beautifully referenced old Fellini movies, including characters speaking only Italian. This was where “Beetlejuice Beetlejuice” shone most, referencing its predecessor while also being unique in its own right.
The weakest part of the movie was its convoluted plot and pacing. Almost every main character had their own distinct plotline competing for screen time. The result was an ending that arrived too quickly. The biggest letdown was Delores’ (Monica Bellucci, “Under Suspicion”) story, which fizzled out in the end despite its constant buildup throughout the film. The ending of “Beetlejuice Beetlejuice” felt like the five minutes at the end of an exam period, where you’re hastily trying to fill out every question you have left. It was a little sloppy, pretty weak and the writers were just happy they got it done.
Don’t get me wrong, I liked “Beetlejuice Beetlejuice.” It was fun, humorous and gleefully morbid, but there were points in the movie when I couldn’t help but wonder who the film was made for. It was missing the dark edge and meaning of the original, exploring cheesier, more palatable themes. In trying to appeal to a wider audience, Burton blurred the lines between a gift to the fans and a money grab. Unfortunately, any sequel will inevitably be compared to the original, and “Beetlejuice Beetlejuice” just didn’t quite measure up to the nostalgia and creativity of the first. Sorry Tim Burton, but this Halloween, I’ll be opting to rewatch the original instead.
Daily Arts Writer Isabelle Perraut can be reached at iperraut@umich.edu
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