Beetlejuice Beetlejuice - Review

Rating: 3 out of 5

TIM Burton enjoyed a return to peak form with his wildly enjoyable Wednesday TV series for Netflix, so what better time to revisit another old favourite, in the form of his career defining Beetlejuice? Sadly, this long-awaited sequel underlines the problems of being able to throw too much money at something.

When Michael Keaton's demented demon debuted in 1988, it represented something of a calling card for Burton's distinct visual style and dark, twisted humour - a rough around the edges black comedy that felt original and destined for the cult status it ultimately enjoyed.

His 2024 follow-up arrives with weighty expectations attached - but struggles, perhaps predictably, to hit the same highs. Yet while part of this can be put down to the length of time between films, as well as the fact that sequels trade on the familiar without always seeing the need to do anything original, it's also down to some unnecessarily extravagant creative choices.

At its core, Beetlejuice Beetlejuice works best when in the company of the original players: most notably, Keaton's titular character, yet also Winona Ryder's now adult Lydia Deetz, a rebellious, Goth-styled outsider 'cursed' with the ability to see ghosts.

The story builds around Deetz, now pursuing a career as a psychic mediator and hosting a reality TV show called Ghost House, which uncovers real-life hauntings, while also being horribly exploited by her boyfriend (Justin Theroux). When she's called back to her old family home following a bereavement, she's reunited with her overbearing stepmom Delia (Catherine O'Hara), now making a name for herself as an artist.

It's here that Deetz also connects with Delia's similarly rebellious daughter Astrid (Wednesday's Jenna Ortega), who also possesses Deetz's ability to see ghosts. Both eventually fall under the radar of Beetlejuice - who has his usual self-serving reasons for helping both.

In the underworld that represents Beetlejuice's home, meanwhile, there's trouble brewing from the sudden re-appearance of Beetlejuice's spurned ex-wife (Monica Bellucci), a soul-sucker who wants revenge for being cut to pieces by her ex, as well as a deceased actor (Willem Dafoe), who remains stuck in his best known character - an old school detective, who has now started to uncover the violations being committed by Bellucci's temptress.

The biggest problem with Beetlejuice Beetlejuice is the sheer number of characters on display - all of whom hint at being a lot more fun than they actually are. For while both Dafoe and Bellucci, in particular, are clearly enjoying themselves in their roles, revelling in the chance to go over the top with their eccentricities, Burton's screenplay doesn't really give them much more to do beyond scenery chewing. Both characters go nowhere, with no distinct arc. Likewise, Theroux's manipulative villain and Danny DeVito's grotesque underworld caretaker.

O'Hara's OTT stepmom has also become a shrill, hysterical character that irritates throughout.

Ryder and Ortega fare better, with both displaying a little more complexity of character, and they arguably get the majority of the film's best scenes - especially those that combine the dark humour with the more emotional stuff.

But as good as Keaton is, he's simply not around enough to really make the most of his talents. As with the first movie, Beetlejuice almost feels like a supporting player in his own movie - but his absence is more keenly felt this time around, given how much the promotion for the film is sold on his presence.

Keaton's creation remains an unpredictable livewire - and therefore still steals every scene he's in. But the film too often feels flat without him.

While the sheer volume of characters and storylines also contribute to the overall feeling of drag - lots and lots of build up leading to a somewhat rushed third act, in which everything and everyone collides to not always satisfying effect.

Burton has enough in his locker to ensure that Beetlejuice Beetlejuice still has its moments (one sung sequence, in particular, as well as the literal full body re-assembly of Bellucci's character), and remains visually arresting throughout (quintessentially Burton... and pushing the 12A limit to its fullest). The performances are such, too, that even though many of the characters feel thinly sketched, there's a liveliness about them that leaves you lamenting the fact that there's not more of them.

But taken as a whole, this sequel flatters to deceive. It promises so much more than it ultimately delivers.

Certificate: 12A

Running time: 104mins