Beetlejuice Beetlejuice

Rating 7/10

For decades, rumors of a sequel to Tim Burton’s beloved 1988 horror-comedy swirled, reaching a fever pitch in the early 2010s. Burton and Michael Keaton expressed interest in revisiting the character, fueling fan speculation. By 2017, Warner Bros. confirmed that one was in development, but it languished in production limbo for years due to script changes and delays. Finally, in early 2023, the follow-up was officially greenlit, with Burton returning to direct and cast members Keaton, Catherine O’Hara, and Winona Ryder reprising their roles. Now, after 36 years, it has become a reality. While Beetlejuice Beetlejuice may not revolutionize cinema, the wistful charm and fresh, unearthly twists make it a fun ride worth the wait.

The story picks up more than three decades after the events of the first. Lydia Deetz (Winona Ryder), still sporting her signature jagged black bangs, now hosts a supernatural talk show called Ghost House, produced by her boyfriend Rory (Justin Theroux). During a taping, she spots Beetlejuice (Michael Keaton) in the audience, foreshadowing his inevitable return. Soon after, Lydia’s stepmother, Delia (Catherine O’Hara), informs her of her father, Charles’ passing. While actor Jeffrey Jones does not reprise his role, his likeness shows up often. An inspired claymation sequence was my favorite.

The ensemble mentioned above would have been enough, but the plot is overstuffed with an assortment of new characters, both living and dead. Monica Bellucci plays Delores, Beetlejuice’s ex-wife, while Willem Dafoe is a B-movie action star turned detective. Danny DeVito appears as a janitor, Santiago Cabrera as Lydia’s former husband who vanished in South America, Burn Gorman as a reverend, and Arthur Conti as Astrid’s love interest. It’s a cacophony of personalities, giving the vibe of a party where the hosts said, “Let’s invite everyone and see who shows up.” Everyone did.

Despite this, the imaginative set pieces still shine, with clever nods to the original that attempt to top it. Repurposed pop songs play a role—just as the first film gave us the iconic calypso number “Day-O,” the account leans into disco with a scene envisioning the transport of the dead as a literal Soul Train. You’ll hear songs like “Tragedy” by the Bee Gees and “MacArthur Park,” with its bizarre lyrics dramatized in loving detail in a climactic sequence. Surprisingly, the soundtrack opts for the Richard Harris version of the song, while the Donna Summer version plays over the end credits.

One of the chronicle’s strongest aspects is its production design. Burton sticks to the practical effects that made the landmark picture so distinctive, forging a handcrafted aesthetic that feels both familiar and fresh. Many of the visual jokes rely on callbacks, which is both nostalgic but creatively limiting. Imagining the afterlife as an ineffective bureaucracy was a fresher and more innovative idea back then. A waiting room of recently deceased characters is frequently depicted; We see eyeballs popping out of heads, and the sandworms make their return. There’s even a demon baby that’s new for this series, but it looks like it crawled out of the 1974 horror flick It’s Alive.

Beetlejuice Beetlejuice may be a bit of a chaotic jumble, but fans of the classic will appreciate its humor and quirky phantasmic charm. It’s a *spirited* sequel.