The reports of Tim Burton’s artistic demise may have been greatly exaggerated. Sure, some might argue he’s taken a few creative detours in recent years (though personally, I found Frankenweenie and Big Eyes delightful), but Beetlejuice Beetlejuice proves there’s still gas in the tank for those willing to hop back on the ride. The sequel to the 1988 horror-comedy delivers much of the macabre quirkiness and eccentricity that made the original a classic.
Set 36 years after the original, we find Lydia Deetz (Winona Ryder) now hosting a supernatural talk show called Ghost House, with her boyfriend Rory producing. Things take a turn for the strange when she starts seeing creepy barstool ghoul Betelgeuse (Michael Keaton) pop up in her audience — because of course, our favorite poltergeist is far from gone. After the death of her father, Charles (brilliantly handled given Jeffrey Jones’s real-life legal issues), Lydia and her estranged daughter, Astrid (Jenna Ortega), head back to Winter River. What follows is a messy yet enjoyable romp through the Neitherworld, as Betelgeuse is once again summoned — this time by Astrid, who unknowingly gets caught up in the ensuing supernatural chaos.
A lot has changed over the decades, but one thing remains certain: Michael Keaton hasn’t lost his fastball — in a just world, he would have snagged an Oscar nomination for his iconic 1988 performance. His return as Betelgeuse (shhh, don’t say his name three times!) is nothing short of a triumph, brimming with mischievous fun. It’s like catching up with an old friend who hasn’t aged a day (thanks to stellar makeup, rather than Photoshop, magic). Keaton commands the screen with the same electrifying chaos that made him a legend in the ’80s, proving he’s still one of Hollywood’s greatest talents.
Yet Keaton isn’t the only blast from the past here. Catherine O’Hara returns as Delia Deetz, and her character has evolved in a way that feels natural. In the decades since, Delia has softened, particularly in her relationship with Lydia, yet remains the eccentric, avant-garde artist whose ambition still outstrips her actual talent. Back in 1988, she was a caricature of a highfalutin New York socialite, known primarily to fans of After Hours or SCTV. Now, Burton gives O’Hara more room to shine, allowing her character — and her own growth since Home Alone — to take center stage.
As we celebrate these familiar faces, we also navigate a film that occasionally gets caught in a cobweb of convoluted subplots. Take Monica Bellucci, Burton’s muse, who plays Betelgeuse’s vengeful ex-wife, Delores. Let’s be real — I’ll never grow tired of seeing the stunning Bellucci on screen; who wouldn’t want to? However, here, her storyline feels more like an excuse to indulge in some gnarly pleasures rather than adding much to the storyline. Then again, that may be the entire point, no?
The talented Jenna Ortega is a breath of fresh air as Lydia’s teen daughter, Astrid. Effortlessly fitting into Burton’s gothic tapestry, Ortega strikes the perfect balance between sardonic wit and youthful innocence — quite a feat considering her audacious role in Ti West’s X. Though her romantic subplot feels somewhat undercooked, it hardly detracts from her performance. Ortega brings revitalizing energy to the story, grounding its more chaotic elements with something heartfelt.
That infectious energy reverberates through the film’s musical sequences, pulsating with Donna Summer’s “MacArthur Park” and a groovy nod to Soul Train. A standout scene features Keaton letting loose in a disco lip-sync extravaganza, his exuberance is palpable in behind-the-scenes glimpses of his grandkids reveling in his return to a role that fits him as snugly as an old baseball glove. Though it may not ascend to the legendary heights of Harry Belafonte’s “Day-O” from the original (and honestly, can anything surpass Otho’s Calypso dance or shrimp commandeering dinner guests?), this sequence undoubtedly emerges as one of the film’s most dazzling highlights.
Though Geena Davis and Alec Baldwin don’t reprise their roles as Barbara and Adam Maitland, Willem Dafoe steps into the void as Wolf Jackson, a B-movie star turned ghost detective, taking up the mantle left by Sylvia Sidney’s Juno. Dafoe certainly adds flair when he’s onscreen, but his role feels underutilized — a missed chance given both his talent and Burton’s visionary direction.
The auteur’s ingenuity shines most in his handling of the absence of Charles Deetz. With Jones out of the picture, Charles survives a plane crash only to meet his fate in the jaws of a shark — a darkly comic twist that sets the plot in motion and feels perfectly in tune with the film’s irreverent spirit.
Burton’s signature world-building is as mesmerizing as ever. The Neitherworld retains its deliciously twisted charm, while the expanded Winter River brings wistful echoes from the past. The practical effects blend seamlessly with the film’s dark humor, reigniting the quirky enchantment that made the original a cult classic. For those familiar with Burton’s work, his passion for film is unmistakable. The movie is enriched by cinematic nods — from a black-and-white Italian sequence reminiscent of Mario Bava to a finale that channels Brian De Palma’s Carrie. These references are more than just Easter eggs for movie buffs; they’re Burton reminding us of his prowess and undeniable command of the medium.
Beetlejuice Beetlejuice may not quite capture the original’s unique magic (a feat few sequels achieve), but it’s a wildly entertaining follow-up. Though it sometimes feels like it’s juggling more than it can handle, Burton’s meticulous craftsmanship, the movie’s stunning practical effects, and Keaton’s electrifying presence ensure the film delivers a captivating experience that both longtime fans and newcomers alike will enjoy.
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