Beetlejuice Beetlejuice Review: Tim Burton’s Sequel Surpasses Original with Zany, Gory Fun
It’s been 36 years since Tim Burton first introduced the world to the bizarre and chaotic world of Beetlejuice, and now the long-awaited sequel Beetlejuice Beetlejuice has finally hit screens, debuting at the Venice Film Festival. Released on [insert the exact day if available], the film was met with excitement, anticipation, and a fair amount of skepticism, especially given Hollywood’s history with long-delayed sequels. Fortunately, Beetlejuice Beetlejuice doesn’t just live up to its predecessor—it surpasses it.
Michael Keaton returns as the title character, Betelgeuse, the ghost with a taste for trouble. Despite the passing decades, his character remains as eccentric, slimy, and hilarious as ever. Thanks to the heavy makeup used in the original film, Keaton’s Betelgeuse looks just as he did in 1988, making the character’s return feel seamless. In fact, the sequel brilliantly balances nostalgia with fresh ideas, giving both old fans and new audiences something to enjoy.
The movie kicks off with Betelgeuse still wreaking havoc in the underworld, where he now works a dull office job. He’s surrounded by lost souls, all grotesquely mutilated in amusingly imaginative ways. Yet despite his new “career,” Betelgeuse hasn’t given up his obsession with Lydia Deetz, once again played by Winona Ryder. Lydia is now a TV psychic, capitalizing on her unusual ability to communicate with the dead. Her relationship with Betelgeuse remains complicated, and it only gets messier when Lydia’s own teenage daughter, Astrid (played by Jenna Ortega), gets caught up in the supernatural madness.
The script, penned by Alfred Gough and Miles Millar, is packed with sharp, witty dialogue that doesn’t shy away from dark humor. Burton, always a master of mixing the creepy with the comedic, delivers some laugh-out-loud moments while pushing the boundaries of what can be considered “family-friendly.” The practical effects used in the film give it a retro charm that’s often missing from modern blockbusters. From puppets and prosthetics to buckets of goo, the visual gags are as bizarre as they are hilarious.
However, the movie isn’t without its flaws. The plot tends to meander, especially in the middle, where the multiple subplots start to feel a little too heavy. Aside from Betelgeuse’s ongoing antics, we see Lydia navigate her strained relationship with her daughter and her self-absorbed TV producer boyfriend (played by Justin Theroux). Meanwhile, Betelgeuse’s ex-wife (played by Monica Bellucci) shows up, determined to settle old scores. Willem Dafoe makes an appearance as an afterlife detective, adding yet another layer of chaos to the already packed narrative.
Despite these minor missteps, Beetlejuice Beetlejuice excels where it matters most: in its ability to entertain. Burton clearly had fun making this film, packing it with nods to Italian cinema, lively musical numbers, and animated segments that capture the manic energy of the original. The film’s tone shifts from touching moments about family and loss to utterly ridiculous sequences of ghoulish fun. Yet, Burton manages to keep everything grounded, ensuring that the movie never takes itself too seriously.
At its core, Beetlejuice Beetlejuice isn’t just a rehash of the 1988 film. While it lovingly pays tribute to its predecessor, it also stands on its own, offering something fresh and engaging. It feels less like a sequel and more like a continuation of the world that Burton built all those years ago—a world where the weird and wonderful thrive. It’s a reminder that not every Hollywood sequel is doomed to disappoint.
Whether you were a fan of the original or are just discovering the character of Betelgeuse for the first time, this film delivers an experience that’s equal parts macabre, funny, and surprisingly heartwarming. While it’s not without its flaws, Beetlejuice Beetlejuice marks a triumphant return for Tim Burton, and Michael Keaton shines in what may very well be one of his most iconic roles. Viewers will undoubtedly leave the theater hoping they don’t have to wait another 36 years for a follow-up.
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