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The legacy sequel has become an all-too-familiar trend in Hollywood in recent years. Films like 2021’s “Ghostbusters: Afterlife” and 2023’s “Indiana Jones and the Dial of Destiny” are par for the course in an industry hell-bent on repackaging and reselling lucrative 1980s nostalgia.

“Beetlejuice Beetlejuice,” Tim Burton’s latest endeavor, rises above the mediocrity of its contemporaries but falls just short of capturing the original film’s spark.

In this long-awaited follow-up, characters are drawn to the setting of the first “Beetlejuice,” the fictional Winter River, Connecticut. Here, the Deetz family (Winona Ryder, Catherine O’Hara, Jenna Ortega) is once again roped into the chaotic world of the afterlife and brought face to face with their old adversary, Betelgeuse (Michael Keaton).

The movie struggles most with its messy screenplay. Uncompelling family drama interrupts the zany scenes set in the afterlife. Throughout the film, the plot comes to a screeching halt to examine Lydia’s (Ryder) damaged relationship with her daughter Astrid (Ortega). This wouldn’t be an issue if these scenes were more tightly written, but contrived misunderstandings leave them feeling like a waste of time. This isn’t helped by a largely flat performance from Ortega, who often sounds like a poor impersonation of Ryder in the original film.

An excess of subplots and new characters also contribute to this pacing issue. Secondary antagonists Delores (Monica Bellucci) and Jeremy (Arthur Conti) are ghosts with stories and motivations. In the movie, they rob the spotlight of Betelgeuse, the main villain, causing his presence to lack importance. Too many things are happening at once, causing all of it to feel underdeveloped.

However, the earnestness and passion of both the cast and crew makes the film enjoyable despite the script. The enthusiasm of the actors is contagious to the audience.

Ayush Sawant | Design Editor

O’Hara, one of the greatest comedic actors alive, gives the film’s funniest performance as Lydia’s stepmother, Delia Deetz, channeling a perfect balance of eccentric and insane. Keaton as Betelgeuse is also electric, playing “the ghost with the most” as if he’s been itching to portray the character again since filming wrapped on the original in 1988. His energy and comedic timing are beyond impressive, even after 36 years away from the role.

Burton’s direction is reminiscent of his iconic work in the ‘80s and ‘90s. The movie excels with brilliantly gothic and colorful production design. Scenes in the afterlife include green and purple lighting and angular, exaggerated sets, adding Burton’s signature weirdness to the film.

Even more inspiring is the choice to almost entirely employ practical effects over digital ones. Makeup, prosthetics and stop-motion models reminiscent of Ray Harryhausen bring characters and scenes to life. In a comedy heavily reliant on sight gags, the extra effort goes a long way.

Many of today’s blockbusters are bogged down by boring and uninspired CGI. Burton has been guilty of this in his more recent films “Miss Peregrine’s Home for Peculiar Children” and “Dumbo,” so the return to traditional techniques is a welcome change.

All of this is tied neatly together by a fantastic score from legendary composer and long-time Burton collaborator, Danny Elfman. The main theme from the first movie is back, alongside new tracks with a jazzy yet eerie sound.

“Beetlejuice Beetlejuice” can sometimes be a headache due to its constantly shifting gears, but it ultimately understands what worked about its predecessor. In a film landscape where sequels are rarely of any substance, Burton has breathed new (after)life into this classic and his career.

Published on September 10, 2024 at 12:28 am

jdvogel@syr.edu