Beetlejuice Beetlejuice: Oc-cult Classic Revived and Revised in Tim Burton Sequel

Beetlejuice, like Batman, returns.

Beetlejuice Beetlejuice does not give in to the typical pitfalls that have come to be expected in the production of a sequel, nor the entirely separate list reserved for those as long awaited as this one, but rather takes strides in carving out a space for the original award-winning pop culture success to not only shine but thrive, evergreen - and ever-striped.

Jenna Ortega as Astrid is, as always, an excellent talent, turning us, as she does, into a mirror of her characters emotional journey. A slight twist is introduced in this instance however, adding a complexity and texture to the viewing experience. We are put in a position of frustration with her so close to the paranormal physically, but in the mind taking herself far from the realm of belief, unable to fully connect with her as a viewer until she fully embraces those themes, and we find ourselves suddenly able to breath. Plus, a particular shout out and congrats to Ortega for getting through a project of the spooky variety without getting an ounce of blood poured on her face!

The wholesome but naturally complex theme of family returns in this second instalment through a variety of lenses, the most forefront being Santiago Cabrera as, deceased husband and father, Richard. Although relatively short-lived, Cabrera’s role in the film, largely thanks to heartwarming connection with Ortega, has a refreshing, grounding effect on the narrative, vital to its resolution. By the films close, it is clear this is a central focus, proven most notably by the fact that the trigger of what becomes a downward spiral for Astrid is a symbol of the most extreme level of disillusionment with the concept of family, to the point of having nothing at all.  

Winona Ryder gives a somehow perfect blend of power and desperation, on a deeper level drawing attention to the spectrum of the female experience - from mother to man’s object. A light yet layered performance from the iconic Catherine O’Hara proves herself a shining tool for all filmmakers, acting here as a true driving force for the narrative. Theroux gives us the vital ingredient of a human antagonist, genuinely unlikable where Beetlejuice strangely attracts as a symbolic embrace of the goofy, the boldly uninhibited, untethered by earthly norms.

Arthur Conti showcases brilliant talent and an easy chemistry with Ortega in his portrayal of Jeremy Frazier, almost akin to a more mature Tyler and Wednesday. Truly captivating in his subtle approach to a beautifully balanced performance, Conti makes an impressive debut to the silver screen, an actor with no need for bells and whistles with a truly bright future to be eagerly anticipated.

An expert subtle blanket of comedy brings a brilliant warmth to the project and classic icons of the original are highly appreciated, just as much as the fact that they are not relied on. The use of music in the movie, including the return of Danny Elfman, is a wonderful highlight, the final step in showing the film to be an altogether more light-hearted dive into Burton’s world, rooted in our modern world through clever use of nostalgia. The comedic standing of the movie is upheld in its characters as well as a generally ludicrous, quirky, punny plain of existence.

Willem Dafoe effortlessly brings to life an undeniably well-written, magnified character of bright charisma and comedy. Surrounded by the very particular aura of a proven secret ingredient to projects with such a touch of the magical and outlandish, Wolf Jackson is a triumphant fresh idea in the elevation of this world, well thought through where Monica Bellucci as Delores, aside from the treat of the inspired, iconic visuals of her entrance – an example of an expert use of music and perfect, precarious balance on the tightrope of palatable gore, felt just a little thrown together.

Overall, Burton does a great job of bringing Beetlejuice into the context of the modern audience. Those of you who revisited the original in preparation for this release are sure to have noticed some lines from the title character that draw attention to a somewhat insensitive, outdated setting of conception, the director’s first toe-dip into the genre that he was to be known for, the industry still shrouded with a cloth that we have since stripped away.

Comical writing and creative visuals navigate cleverly the absence of Jeffrey Jones, who previously played Charles but whose actions since have rendered him an inappropriate cast. In this way, Beetlejuice Beetlejuice has become a contributing example in the heavily debatable question of whether the poor conduct of a performer can forever taint their art. The creative team behind this project handle it brilliantly. The choices we see here, whether made by Burton himself or not, have done much to protect Beetlejuicefrom that dilemma.

This extension of the Beetlejuice world has smoothed out those wrinkles perfectly, whilst still embracing everything that initially drew people in, at times walking tentatively on the side of a meta existence, clearly produced with awareness of their viewers.