‘Beetlejuice’ Sequel Brings Whimsical Fun to the Screen

LOS ANGELES, Sept. 3 — Beetlejuice Beetlejuice, which hits theaters on Friday, marks a whimsical and lighthearted return to the afterlife comedy universe established in the 1988 classic. While it occasionally stretches the narrative to find its footing, it remains consistently entertaining.

Lydia Deetz, played by Winona Ryder, has turned her unique ability to interact with ghosts into a hit television series. However, she continues to experience unsettling visions of Betelgeuse (Michael Keaton). This eerie gift has strained her relationship with her daughter Astrid, portrayed by Jenna Ortega, who is skeptical of her mother’s claims.

Following the death of Lydia’s father, Charles, she returns to Winter River with Astrid and her stepmother Delia, played by Catherine O’Hara, to manage the estate and attend the funeral. This trip reignites Lydia’s connection with Betelgeuse, who is still haunting a model in the attic.

The original Beetlejuice introduced audiences to Tim Burton’s surreal vision, which has become even more expansive with this sequel. The new film embraces a variety of creative techniques, including stop-motion animation, lively dance sequences, and even segments styled as old black-and-white foreign horror films, complete with subtitles.

Some iconic elements from the original film make a comeback, including the infamous shrunken heads and the disjointed hallways of the afterlife. The sequel effectively merges familiar motifs with fresh, cleverly comical characters populating the afterlife’s waiting room.

Beetlejuice Beetlejuice packs in more subplots than its predecessor, but the focus remains on Lydia and Delia. Delia’s flamboyant art and self-absorption are highlighted, while Lydia grapples with the repercussions of her powers, explaining Astrid’s skepticism and her own emotional struggles. Adding another layer, Lydia has a new fiancé, Rory (Justin Theroux), who complicates the family dynamics further.

In the afterlife, Lydia contends with the return of Betelgeuse’s ex-wife, a soul-sucking spirit named Delores (Monica Bellucci), while afterlife police officer Jackson (Willem Dafoe) investigates the comedic chaos that unfolds.

The screenplay, written by Alfred Gough, Miles Millar, and Seth Grahame-Smith, often treats these additional storylines as necessary, mechanical elements to support Betelgeuse’s humor and the human characters’ surreal encounters.

The film introduces intriguing yet inconsistent rules regarding the afterlife, aligned with its whimsical nature. One amusing inclusion is the “Handbook for the Recently Deceased,” which is far too lengthy to fully digest, reflecting the convoluted bureaucracy faced by the ghosts.

As the narrative unfolds, many storylines converge during the film’s conclusion, wrapping up swiftly but effectively. Though the film’s pacing sometimes falters in balancing its various elements, there is always something engaging onscreen, even when certain characters like Delores are absent for extended periods.

The sequel acknowledges lingering threads from the first film, dismissing Adam and Barbara Maitland’s ghosts due to the absence of original actors Geena Davis and Alec Baldwin. Additionally, the film humorously addresses Charles’s recent death, ensuring he remains present in the narrative through flashbacks and ghostly appearances, maintaining the lighthearted essence of its predecessor.

New characters add to the entertainment, such as Jackson, a washed-up action star enjoying his afterlife. Delores captivates the audience with her allure, offering a mix of seduction and eeriness. Miniature side stories featuring one-off characters provide comedic relief and prove to be entertaining despite their brevity.

In a film landscape dominated by legacy sequels, Beetlejuice Beetlejuice succeeds in capturing the essence of the original while embracing its own unique spin. Although it may not completely reinvent the realm of afterlife comedies, it delivers a delightful and surreal journey worth experiencing.

Source: UPI