REVIEW: ‘Beetlejuice Beetlejuice’ Lets the Juice Go Loose

36 years ago, before Beetlejuice Beetlejuice, when Tim Burton and The Geffen Film Company (now folded into Warner Brothers) debuted Beetlejuice in 1988, it took audiences by storm. At its debut and for decades following, Beetlejuice became a beloved classic for its irreverence, embrace of horror elements, relatable characters (living and dead), and overall zany originality.

Now, with his sequel with writers Alfred Gough, Miles Millar, and Seth Grahame-Smith, Beetlejuice Beetlejuice, can Burton recapture the magic while not treading too much in the past? The answer is a resounding yes, as Beetlejuice Beetlejuice proves itself a hilarious, emotional, and zany ride that manages to stand on its own two feet while proving a worthy sequel to the classic film.

In Beetlejuice Beetlejuice, we find that Lydia Deetz (Winona Ryder) has grown up to become a burdened single mother to Astrid (Jenna Ortega). Now a popular TV medium host, exaggerating her natural gift to see ghosts, she finds herself estranged from Astrid and catering to the whims of her manager and boyfriend Rory (Justin Theroux). When tragedy strikes the Deetz family (again), Lydia, Astrid, and Rory must venture back to her “Ghost House” childhood home with self-obsessed stepmother Delia (Catherine O’Hara) in tow.

Complicating matters further, Lydia sees the titular Betelgeuse (Michael Keaton) in visions as the latter’s ex-soul-sucking wife Delores (Monica Bellucci) rears up for her revenge on the bio-exorcist. And if it couldn’t get more crazy, there’s also Willem Dafoe as an undead actor-turned-cop on their tail.

Adult Lydia in Beetlejuice Beetlejuice is a far cry from her blasé younger self in the original film. However, the writing and Ryder’s performance make the transition very believable, as inevitably, the burdens of society and family can take their toll on us. Ryder plays Lydia with this burden throughout as she continues to delight in the role all these years later.

One might think that as this famously weird TV medium, exhausted by the fame around her, she plays a stand-in for Burton, who similarly feels burdened with the expectations audiences might place on him and is now questioning what he means to say with his art. Theroux is hilarious as her sleaze-bag boyfriend, making for great comedic moments between the two. Ryder’s Lydia makes for a compelling lead performance, even when contrasted with those around her.

Ortega, as Astrid, is one of the more subdued characters. She aims to be “normal” in her abnormal family and wants to stand independently from her famous mother. Ortega showcases her range in her second collaboration with Burton, acting as a solid audience surrogate while still having her own journey of understanding her mother better. Ortega more than proves she is an excellent co-lead to Ryder.

O’Hara is laugh-out-loud hilarious every single time she’s on screen, playing Delia off-kilter and with compassion for her stepfamily as they encounter the undead once again. Due to the criminal charges against actor Jeffrey Jones, Charles isn’t fully present, but the film finds a way to include him in a raunchy and hilarious way to enhance Delia’s story. Along with Keaton as Betelgeuse, Delia and Betelgeuse are the hilarious high points of this sequel horror comedy.

Keaton slips back into Betelgeuse so seamlessly, amping up the hilarity and irreverence of the iconic role. While not quite as risqué as in the original film, or at least as Keaton seemingly said he would be, he continues to shock and awe new and old audiences as our favorite demonic bio-exorcist. In his physicality, unnaturally gruff voice, reveling in the horrific scenery, and (thankfully) more screen time than the original film, Beetlejuice Beetlejuice marks a grand return for Keaton in one of his iconic roles, cementing himself further as one of the best performers on our screens.

Bellucci, as Delores, is ethereal and genuinely scary at times but doesn’t have as much screen time to shine as the other cast members. Relatedly, in the first half of Beetlejuice Beetlejuice, it can feel as though the film is juggling many storylines at once, leaving audiences confused about what direction to go in. However, in the second half, storylines begin to coalesce, making for a riveting ride that will make at least some of the messiness worth it. Combined with Burton’s sound direction that keeps the pace brisk, it’s still consistently enjoyable to watch. And honestly the messiness feels inherent to the Beetlejuice legacy anyway, so it’s not that large a deduction.

Danny Elfman’s soundtrack fires on all cylinders, bringing the classic tunes from the first film while expanding his repertoire on the Deetz’s next foray with the dead. Making full use of the orchestra and soundtrack, Elfman continues to prove he’s one of the greats. There are even musical sequences in this film that might rival the iconic “Day-O” sequence of the first film if you can believe it.

Beetlejuice Beetlejuice is a hilarious sequel to the original film that manages to stand on its own. With stellar performances from Keaton, O’Hara, Ryder, Ortega, and the entire cast, Burton in his element, a hilarious script by Alfred Gough, Miles Millar, and Seth Grahame-Smith, and an excellent score by Elfman, it’s a worthy sequel of an IP in an industry teeming with sequels and reboots. This one actually remembered what made the original great, and others should learn from it. Just set the juice loose.

Beetlejuice Beetlejuice releases in theaters September 6th.