After a family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia’s life is turned upside down when her teenage daughter, Astrid, accidentally opens the portal to the Afterlife.
I’ll be the first to admit that the original “Beetlejuice” never quite clicked with me. Tim Burton’s films can be polarizing like that; you either fall under their spell, or they leave you cold. But there’s no denying that Burton is a visionary, and even when his movies don’t resonate, there’s always something to appreciate. Such was the case with “Beetlejuice” – it may not have been a favorite, but its technical merits and memorable performances were undeniable. Now, thirty-six years later, Burton has resurrected the beloved bio-exorcist, and the result is a sequel that perfectly captures the spirit of the original: a wildly funny yet gloriously weird spectacle.
Burton’s visual style is unmistakable, a riot of color and quirk that can be jarring initially but soon becomes hypnotic. He masters blending practical and CGI effects, creating a fantastical and strangely tangible world. It’s a lesson in balancing these tools that many modern filmmakers could learn from.
The story picks up three and a half decades after the first film’s events. Lydia Deetz (Winona Ryder), the goth teenager with a heart of gold, has grown into a successful producer of a paranormal talk show called “Ghost House.” Her personal life is more complicated; she’s in a relationship with shady producer Rory (Justin Theroux), who’s only interested in her for her connections. When Lydia’s father passes away, she’s forced to reunite with her estranged daughter, Astrid (Jenna Ortega), a teenager as moody and fascinating as Lydia once was. The funeral is a disaster, with Rory proposing on the spot and Astrid fleeing in disgust. It’s not long before she finds herself lost in the Afterlife, and Lydia has no choice but to turn to the only person who can help: Beetlejuice.
Beetlejuice is back, and while Michael Keaton’s performance is slightly more subdued this time, the character remains a force of nature. He’s as scheming and lecherous as ever, and his dynamic with Lydia is still electric. The supporting cast is equally impressive, with Jenna Ortega making a fantastic debut as the angsty but lovable Astrid. Her chemistry with Winona Ryder is immediate and authentic, and Justin Theroux is perfectly slimy as the self-serving Rory. Monica Bellucci, meanwhile, is a stunning addition to the cast, playing Beetlejuice’s vengeful ex, Delores, with a potent mix of humor and sensuality. And then there’s Willem Dafoe as Wolf Jackson, a ghost hunter who, in life, was a B-movie action star with a penchant for terrible one-liners.
Visually, the film is everything you’d hope for from a Tim Burton sequel. The Afterlife is a kaleidoscope of bizarre landscapes and creatures rendered with Burton’s trademark meticulousness. Danny Elfman’s score perfectly complements the action, veering from playful to poignant with his usual ease. Burton has hinted that he might not be done with these characters yet, and after this installment, I hope he isn’t. As long as he can maintain this level of invention and energy, I’m on board for wherever he takes us next.
In short, “Beetlejuice Beetlejuice” is a triumphant sequel that recaptures the anarchic charm of the original while introducing a new generation of characters. It’s a visually stunning, frequently hilarious, and oddly touching exploration of family, love, and the Afterlife. If you were a fan of the first film, you owe it to yourself to see this. And if you’re new to the world of Beetlejuice, this is the perfect time to get acquainted. Just be prepared for a wild ride – this is, after all, a Tim Burton film.
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