Tim Burton has been in a creative rut for well over a decade. The past 15 years of his career have been populated largely by forgettable dramas and several unfortunate collaborations with Disney. Not all of his past few movies have been as awful as the 2012 adaptation of ‘Dark Shadows,’ but many have lacked the energy of his earlier work – the sense of giddy, gothic fun that made him a distinct artistic voice throughout the ’80s and ’90s. So, when news of a ‘Beetlejuice’ sequel emerged, it was met with a mix of excitement and apprehension. Was this a return to Burton’s roots or another uninspired venture? Thankfully, ‘Beetlejuice 2’ proves that Burton still has the potential to be a master of his own aesthetic.
Set 36 years after the original, ‘Beetlejuice 2′ finds Lydia Deetz (Winona Ryder) in a creative and spiritual rut. She’s monetized her paranormal powers but is still haunted by ghosts and the mischievous demon Betelgeuse (Michael Keaton). Lydia’s personal life mirrors Burton’s recent work – both feel stale and commercialized. The film cleverly parallels this through Lydia’s career as the host of a supernatural investigation show.
But a sudden death shakes things up. Charles, Lydia’s father, dies during a bird-watching expedition, visualized in an absurd Claymation sequence. This prompts Lydia, her stepmother Delia (a scene-stealing Catherine O’Hara), and Lydia’s estranged daughter, Astrid (Jenna Ortega), to return to the Deetzes’ haunted home.
The film throws a lot at the audience. The script by ‘Wednesday’ creators Alfred Gough and Miles Millar is packed with characters, ideas, and gags, making for a relentless pace. The story is full of subplots, some of which are left unresolved, and the film doesn’t truly hit its stride until the second half. Despite this, ‘Beetlejuice 2′ is a visually captivating experience. Mark Scruton’s production design and Haris Zambarloukos’ cinematography create a vibrant and disorienting vision of the afterlife. Burton embraces visual risks and gags, including musical numbers and a black-and-white homage to Italian giallo director Mario Bava. This embrace of the unconventional is reminiscent of Burton’s earlier work.
The performances are stellar, especially Keaton and O’Hara. The chemistry between Lydia and Astrid, while taking time to develop, ultimately adds another layer to the film’s exploration of family and legacy.
While ‘Beetlejuice 2’ pays homage to its predecessor, it’s not simply a nostalgic cash grab. It stands on its own as an entertaining and imaginative film. ‘Beetlejuice 2’ breathes new life into Burton’s career and proves that the director can still deliver the dark, comedic magic that made him a cinematic icon.
