Betelgeuse returns from the dead. Or rather, Betelgeuse is still dead, but it’s back, anyway. Amazingly, it’s been 36 years since the Beetlejuice Tim Burton‘s film introduced the depraved and devilish character played by Michael Keaton.
But Hollywood being Hollywood, couldn’t allow that intellectual property to remain buried in eternal rest. So Burton has directed a sequel, Beetlejuice Beetlejuicewhich was the movie that opened the Venice Film Festival this year.
I can’t say my expectations were very high; after all, the last time a 1980s supernatural comedy got a sequel after a decades-long wait, the disappointing result was Ghostbusters: Legacy.
So it’s a relief to be able to report that Beetlejuice Beetlejuice It looks like a weirder, bloodier, and totally slimier version of Top Gun: Maverick. In other words, it is a sequel that comes after a 36-year wait, which pays an intelligent and affectionate tribute to its predecessorbut at the same time surpasses it in almost every aspect.
Obviously, it helps that Keaton was covered in corpse makeup in the first film, so his Betelgeuse looks much the same today as it did in 1988.
The most pleasant surprise is that Beetlejuice Beetlejuice It is one of those rare objects: a big-budget comedy that It’s really funnyThe script by Alfred Gough and Miles Millar is packed with droll dialogue, and Burton’s visual gags manage to be hilarious even as they push the boundaries of macabre eccentricity that a Hollywood blockbuster can achieve.
A key aspect is that, instead of relying on computer generated images (CGI), Burton uses practical effects like puppets, prosthetics and tons of slime that make jokes funnier and more disgusting.
The only flaw in the film is that a few of the plots are superfluous, which lengthens the middle part of the film and the ending is a hurried mess: as in the original Beetlejuicecould have devoted more time to Betelgeuse.
Keaton’s rambunctious character now has a desk job in the underworld, a nightmarish bureaucracy populated by lost souls sporting a variety of frighteningly imaginative mutilations. But he still yearns for Lydia Deetz (Winona Ryder), the disgruntled goth teen he tried to marry in the first film.
Lydia is now a “psychic mediator” who hosts a TV show produced by her spectacularly egotistical boyfriend (Justin Theroux). She also has her own disgruntled teenage daughter, Astrid (Jenna Ortega), who is embarrassed by what she presumes are her mother’s fraudulent claims that she can see the dead.
And Lydia still has a hard time getting along with her stepmother, Delia (Catherine O’Hara), a jarringly narcissistic artist who makes her Schitt’s Creek character look shy and withdrawn by comparison.
More than a retreaded version
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Same as with Top Gun: Maverickthe long gap between the old film and the new one turns out to be beneficial. Rather than being a retread, Beetlejuice Beetlejuice It stands as a comedy with its own story and its own concerns..
It manages to be quite moving with its themes of the difficulties of aging, parenthood, and dealing with grief. But it always reverts back to its ghostly, cartoonish silliness in the end.
The idea is that several of the Deetzes reunite when Lydia’s father dies: the actor who played him in the first film, Jeffrey Jones, is now on the sex offenders’ registry, which probably explains why he wasn’t invited to the sequel.
When the family gathers at the haunted house where Betelgeuse burst from the other side of existence all those years ago, there’s no sign of the ghosts played by Alec Baldwin and Geena Davis in the original version (“How convenient,” Astrid says when Lydia explains why they’re gone).
But Beetlejuice Beetlejuice begins to falter under the weight of all its characters.
Astrid has a love interest (Arthur Conti); Betelgeuse is haunted by his vengeful ex-wife (Monica Bellucci) who has a Morticia-like air about her Familia Addams; and Willem Dafoe plays a vain former actor who now works as an afterlife detective because that was the role he played in the movies.
No wonder the librettists couldn’t keep track of everything that was going on.
Despite how tangled it is Beetlejuice Beetlejuice It is, this cheerful and crazy farce remains One of Burton’s funniest filmsand a very welcome return to his own weird brand of horror after his failed attempt at a live-action version of Disney’s Dumbo in 2019.
Burton reunites with old friends in front of and behind the camera and adds musical numbers, animated segments and parodies of Italian cinema, so that You can tell he really had fun filming the movie..
Viewers will also have a lot of fun with it.
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What are the main differences between the original “Beetlejuice” and the sequel “Beetlejuice Beetlejuice”?
Betelgeuse Returns: “Beetlejuice Beetlejuice” Sequel Brings Back the Depraved and Devilish Character
It’s been 36 years since Tim Burton’s film “Beetlejuice” introduced the world to the depraved and devilish character of Betelgeuse, played by Michael Keaton. Now, Burton has directed a sequel, “Beetlejuice Beetlejuice”, which has opened the Venice Film Festival this year [[1]]. The sequel has already grossed a promising $38 million on its first day, with $13 million coming from previews at the North American box office [[1]].
The film follows the Deetz family as they return home to Winter River after a family tragedy, only to find themselves still haunted by Beetlejuice [[2]][[3]]. The story takes a new turn as Lydia Deetz, played by Winona Ryder, is now a “psychic mediator” hosting a TV show produced by her egotistical boyfriend. Meanwhile, Betelgeuse is stuck in a desk job in the underworld, yearning for Lydia.
The sequel has exceeded expectations, paying an intelligent and affectionate tribute to its predecessor while surpassing it in almost every aspect. Michael Keaton’s Betelgeuse looks remarkably similar to his 1988 counterpart, thanks to the corpse makeup [[1]]. The film’s script, written by Alfred Gough and Miles Millar, is packed with droll dialogue, and Burton’s visual gags push the boundaries of macabre eccentricity.
One of the key aspects of the film is its use of practical effects, such as puppets, prosthetics, and tons of slime, which make the jokes funnier and more disgusting [[1]]. The film’s visuals are also noteworthy, with a nightmarish bureaucracy populated by lost souls sporting a variety of frighteningly imaginative mutilations.
While the film has some flaws, including superfluous plots that lengthen the middle part of the film and a hurried ending, it is a rare big-budget comedy that is actually funny [[1]]. The sequel’s success is a testament to Tim Burton’s direction and the enduring appeal of the “Beetlejuice” franchise.
About the Film
“Beetlejuice Beetlejuice” is a supernatural comedy film directed by Tim Burton and starring Michael Keaton, Winona Ryder, and Catherine O’Hara. The film follows the Deetz family as they return home to Winter River after a family tragedy, only to find themselves still haunted by Beetlejuice. The film pays an intelligent and affectionate tribute to its predecessor while surpassing it in almost every aspect.
Box Office Performance
The film has grossed a promising $38 million on its first day, with $13 million coming from previews at the North American box office [[1]].
Cast and Crew
Director: Tim Burton
Stars: Michael Keaton, Winona Ryder, Catherine O’Hara
* Scriptwriters: Alfred Gough and Miles Millar
References
Beetlejuice 2 uscita in Italia
Betelgeuse Returns from the Dead: A Look at the Beetlejuice Sequel
It’s been 36 long years since Tim Burton’s iconic film, Beetlejuice, introduced the world to the depraved and devilish character played by Michael Keaton. And now, after decades of dormancy, Betelgeuse is back in a sequel that’s been making waves at the Venice Film Festival. But is it a worthy successor to the original, or just another example of Hollywood’s nostalgia-driven sequelitis?
A Chaotic, Hallucinatory, and Fun Sequel
According to Moira Macdonald of the Seattle Times, the sequel, Beetlejuice Beetlejuice, is “a chaotic, hallucinatory, and fun” ride that pays homage to its predecessor while pushing the boundaries of macabre eccentricity [[1]]. The script by Alfred Gough and Miles Millar is packed with droll dialogue, and Burton’s visual gags are both hilarious and disgusting, thanks to the use of practical effects like puppets, prosthetics, and tons of slime.
A Relief After Ghostbusters: Legacy
