Ayla Ruby
With the first few notes of Danny Elfman‘s score, the rest of the world slips away, and you’re immediately in the world where The Handbook of the Recently Deceased governs, and the laws of physics are mostly optional.
Tim Burton‘s Beetlejuice, Beetlejuice is a riot and the whole movie gives off the effect of being a spectacularly well-orchestrated and engineered Rube Goldberg machine. Every frame of every shot is packed with interesting things that you want to look at and experience. – whether it’s the acting, the practicals, the costumes, or even the lighting. But it all works brilliantly. The movie’s brisk pace works to heighten all of this; before you can spend too much time with something, you’re whisked away because the next exciting thing is there for you to behold.
I’ll admit, it’s been a while since I’ve seen the original 1988 Beetlejuice that this movie is the long-awaited sequel to. I have fond (and slightly creepy) childhood memories of pinstripes, shrunken heads, and outrageous effects. I decided not to rewatch the film, taking this new entry in the horror-ish world as its own thing, given that it’s 36 years later.
We meet our main cast – Winona Ryder as Lydia Deetz, Catherine O’Hara as Delia Deetz, newcomer Jenna Ortega as Lydia’s daughter, Astrid Deetz, and of course, Michael Keaton after time has passed. People have moved on with their lives – or afterlives. Lydia, now a grown-up moody goth girl, is the host of a paranormal TV show, Ghost House, where she’s a psychic who helps people – and dogs – who have the misfortune of sharing their homes with the spirits of the dead. She’s managed by her uncomfortably slick and allegedly still into the woo-woo, Rory, played by Justin Theroux. Her stepmom, Delia, is a famous contemporary artist who has all of the pomp, circumstance, and extra-ness that entails.
The events of the film kick off when Lydia’s dad, Charles (Jeffrey Jones), an avid birdwatcher, dies in a watery plane crash that has him eaten by a shark. Charles’ death comes to life on screen in a somewhat playful and very Burton-animated vignette. If you weren’t aware that you were watching a movie from the acclaimed director, this firmly will establish that fact for you. Charles’ death reunites Lydia and Astrid, her cause-loving daughter who is at boarding school and who she has a fraught relationship with because of her seeing and talking to the dead gig.
Lydia, Astria, Delia – and unfortunately, Rory, go back to Winter Haven and the infamous house from the first movie (sans Geena Davis and Alec Baldwin) to lay Charles to rest. That happens – but there’s a catch – and Rory proposes to Lydia. Astrid doesn’t take it so well and runs off into town, where a bike accident has her meet a new plaid-clad friend. Meanwhile, in the afterlife, Monica Bellucci, as the villainess Delores, is awakening with ghastly staples and a grudge that is the undoing of a very famous Sunny actor in a Drain-o drinking extended cameo. Without spoiling it, the resulting story puts everyone on a collision course and has Betelgeuse both running from his past and still trying to marry Lydia.
There is not enough space for me to give credit to the wonderful world of makeup, costumes, and practical effects that make this movie. Christine Blundell, Colleen Atwood, Mark Scruton, and their teams do a phenomenal job and make this so much more of an immersive viewing experience.
All of the main performances in Beetlejuice, Beetlejuice are over the top in the way that really befits the self-aware kitsch that is a hallmark of the movie, too. For Winona Ryder, it is as if no time at all has passed since she was young Lydia Deetz and first discovered she could see the dead. She effortlessly slips back into the role. But time has passed, and Ryder inhabits Deetz with an understanding of the life experiences that come with age that her character has gone through, too. There’s a sensitiveness and vulnerability that still underlies the performance. That she’s able to channel this in the context of Lydia’s new life – mom, a TV paranormal conduit, a fiancee, is proof of Ryder’s skill.
Jenna Ortega fits perfectly in this universe. As Astrid, she channels the attitude of a grieving and moody teenager so very well. She portrays both the teenage curse of being misunderstood – and misunderstanding her mom equally well. There’s a spark in her performance that makes you want to watch her. Oretega holds her own with Ryder and O’Hara, and at moments, especially with her characters’ plaid friend, it feels like she’s channeling Christina Ricci in Casper, too.
O’Hara as Delia is particularly entertaining. Falling somewhere between her Schitt’s Creek persona Moira and Tilda Swinton‘s Elizabeth in Problemista, Delia is over-the-top but somehow completely earnest. It’s a fine line to walk without becoming a caricature, and O’Hara does it skillfully. Delia has evolved, too, since the sequel. Although still self-absorbed (with all the modern trappings of this, including selfie lights), there is a new layer of wisdom to her relationship with Lydia. With Lydia being a parent, Delia and she can relate on another level, which is fun to see on screen.
Michael Keaton IS Betelgeuse. The line where the actor ends and where the afterlife demon begins is so fine, thanks to Keaton’s commitment to the bit. It’s a demanding and physical role, and Keaton does it so well that you’re reminded of why it’s iconic. It is again, in this movie, his performance here sure to add to the legend.
Of special note in the movie are Willem Dafoe and Burn Gorman. Without spoiling his gig, Dafoe is an action actor named Wolf Jackson who ended up in the afterlife because he took things a little too far with his stunt work. Dafoe goes all in on the joke here. And my Forever-loving self would be remiss, not to mention Gorman as Father Damien in the film. Any time Gorman is on a project, it’s great, and seeing him merge the seriousness with the Burton comedy is a treat.
Beetlejuice, Beetlejuice is an utterly delightful, campy film that is pure Tim Burton. The stylish sequel is done right and was worth waiting for all those years. As a final thought, I’m struck by the words of my non-critic friend, with whom I saw the movie. She said, “It just seemed like they were all having so much fun.” And I agree. And if you see Beetlejuice, Beetlejuice, you’re in for a ton of fun as well. I can’t wait to watch it again.
SCORE: ★★★1/2
“Charles’ death comes to life on screen in a somewhat playful and very Burton-animated vignette.”
That is an exceptionally clever way to account for the on-screen death of a major character without having to deal with the on-set physical presence of the actor who previously played that character.