Practical visuals, charming performances, and just the right amount of Juice
Beetlejuice Beetlejuice has been a long time coming. You’d think a sequel to a 1988 film coming out in 2024 would be nothing more than a nostalgia-driven cash-grab, but sequels of various kinds have been in the works since 1990. ‘Development Hell’ is a term usually reserved for a specific film that just can’t get off the ground, but in the case of the Beetlejuice sequel, there were a whole host of scripts and ideas that simply didn’t manifest over the years.
‘Beetlejuice In Love’ and ‘Beetlejuice Goes Hawaiian’ (yes) are the two most well-known scripts that never materialised as films, and I can honestly say that this is a shame. Beetlejuice is such a fantastic showcase of Burton’s creative talents that when I saw it for the first time recently, I found myself earnestly looking forward to the sequel, if only for the possibility of getting a fresh hit of Juice.
But maybe too much of the bio-exorcist would've been a bad thing. After all, the titular character is only used sparingly throughout the original film—it’s that light touch that made me so eager for more—and we wouldn’t want to risk oversaturation. Betelgeuse himself is a pretty one-note character, and although that note is beautifully played, it could become grating over time.
I had three big desires for Beetlejuice Beetlejuice: plenty of practical effects; a measured use of Betelgeuse himself; and as little nostalgia-pandering as possible.
Freshly Squeezed
Following the death of her father, paranormal talk show host Lydia Deetz (Winona Ryder) returns to the town of Winter River with her stepmother Delia (Catherine O’Hara) and her daughter Astrid (Jenna Ortega). Threatened by supernatural events, Lydia has no choice but to enter an agreement with the conniving demon Betelgeuse (Michael Keaton) in order to save her family.
Tight plots aren’t why anyone enjoys Tim Burton movies, and they’re certainly not what makes a Beetlejuice movie fun, so lets get this out of the way: whereas the original Beetlejuice is almost plotless—sure, things that happen lead to other things happening, but it’s mostly just wacky fun—Beetlejuice Beetlejuice is a little burdened by its plot.
There are so many disparate elements at play, especially during the first act of the movie before things reach high gear, that make the movie feel a little sluggish. Justin Theroux, Monica Bellucci, Willem Defoe, and newcomer Arthur Conti all play prominent roles in the film’s various subplots. Most of them are great, but they do distract from the more interesting core trio quite often.
As the pace quickens and the pay-off arrives for some of the less compelling characters, this problem resolves itself. Perhaps some won’t find these earlier expository scenes to be as much of a bore as I did—it will largely depend on how funny you find Justin Theroux—but I do wish a few of them had been better executed.
Say My Name
That’s about where my negative criticism ends, though. Beetlejuice Beetlejuice is a great film that satisfied my main three desires going into it. Let’s start with the practical effects. While there is no doubt plenty of CGI at play behind the scenes, the technology is clearly being used to supplement the practical visual effects—not replace them.
From the design, costuming, and make-up of the denizens of the afterlife to the use of stop motion and claymation effects to both tell scenes and enhance details, Beetlejuice Beetlejuice feels like a movie out of time. This level of commitment to practical effects is unheard of today.
I do somewhat lament the fact that this was likely only done in an attempt to make the film feel more like the 1988 movie—it’s likely that an original story with this many practical effects would’ve had trouble getting greenlit—but nonetheless, Beetlejuice Beetlejuice looks impressive and feels delightfully tactile.
As for how often Betelgeuse appears throughout the narrative, once again it’s a relatively light touch. He’s still in the movie plenty, but the story is thankfully much more focused on Delia, Lydia, and Astrid—the human characters capable of having an arc. He’s also still a gross, deceitful pervert. I appreciate that his more dislikeable tendencies weren’t toned down—it lets Betelgeuse be fun.
Beetlejuice Beetlejuice… Beetlejuice?
Speaking of which, Michael Keaton slips back into the role as if no time had passed at all. None of the classic character’s bizarre behavioural quirks or drunken vocal tics are missing here, and some aspect of his performance regularly had me laughing aloud. He’s just such a weird dude—such a singular entity in Hollywood cinema—that I can’t help but love him.
As for how the movie peddles in nostalgia… There’s a little bit of this, but not too much. The miniature town gets a dramatic reveal, and the afterlife’s waiting room will feel familiar, but honestly the movie is usually trying new things and—as odd as this may sound—expanding on the worldbuilding of the original movie.
Some plot beats feel familiar, but honestly, who cares? At least the movie isn’t trying to paint Betelgeuse as some iconic 80’s hero, and it avoids winking at the camera with egregious references that serve no point other than ‘Remember this?’ like so many legacy sequels do these days. In this regard, and many others, I commend Tim Burton’s direction.
Beetlejuice Beetlejuice is a good time. It treads the line of feeling like the old film that you love without pandering to you with that same nostalgia. The film is vibrant and immaculately-designed with plenty of gags and a decent exploration of the conflicts inherent in a mother/daughter relationship. If you're in any way a fan of the original, this is a must-see.
***
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