Rating: 3 out of 4 Running Time: 105 minutes This film from Warner Bros. opens exclusively at theaters and in IMAX on Friday, Sept. 6.
When word is spread that Deetz family patriarch Charles has passed away, wife Delia (Catherine O’Hara), daughter Lydia (Winona Ryder) and granddaughter Astrid (Jenna Ortega) are reunited at the family home to start funeral proceedings. As it turns out, there is plenty of family tension. Delia is still butting heads with her stepdaughter, and using grief over the death of her husband as inspiration for a new art project. Lydia hosts a program on communicating with the dead, much to the chagrin of her moody teenage daughter Astrid, whose father passed away in another tragedy. Tormented by other kids because of her mother’s profession, she believes Lydia is a fraud and is also unimpressed by her parent’s boyfriend/manager, Rory (Justin Theroux).
While all this is going on, underworld bio-exorcist Betelgeuse (Michael Keaton), who still yearns for Lydia, is finding himself being hunted by his soul-sucking ex, Delores (Monica Bellucci).
Truth be told, there are a lot of characters and plotlines in this picture. However, it doesn’t seem to hurt the film as much as one would expect. The entire cast is excellent and viewers already have a history with most of the individuals. As such, the very quick reintroductions get everyone up to speed effectively and amusingly.
The new character Astrid makes a positive impression as well. Still troubled over her father’s death and the fact that her mother can’t or won’t contact him in the beyond, her cross demeanor is relatable and well-established in a short period of time. It’s also fun to see her mood start to brighten after meeting unassuming local Jeremy (Arthur Conti).
Of course, the title character is also a standout. Keaton hasn’t lost a step with the Betelgeuse character, and with the help of effective prosthetic make-up looks no different than he did 36 years ago. The quips and comments are as rapid-fire as ever and he gets in just as many, if not more, laughs this time out.
There is a funny subplot involving his use of Bob, one member of his team of shrunken-headed office workers, to take the fall if Delores finds him. The couple’s backstory is also relayed in a great scene that harkens back to old Mario Bava horror films from Italy.
All of the supporting cast are given an amusing moment or two and the humor on display is still remarkably quirky and delivers big laughs. This film’s use of music in the picture is a highlight, including the fun crooning of an 80s pop song, a literal “Soul Train,” being used as a transport device, and a hilarious finale that effectively ties all of the story threads together to an appropriately over-the-top 1970s hit. It’s a memorable scene that will be ingrained in this reviewer’s brain for some time.
And between all the gruesome gags, there is an affecting family dynamic on display. The first movie focused on a recently deceased couple dealing with the afterlife. While it isn’t the deepest of presentations, themes of mortality, grief, loss and closure are what is being addressed in the three Deetz plotlines. While the film is forced to deal with certain aspects in heart-to-heart conversations between characters, there is always a visual contrast involving something surreal or disturbing occuring on at the same time. So, it feels sweet, but never overly sentimental.
The visuals are also incredible, with nice callbacks to the original film and a couple of eerie new visions within the supernatural world. It’s a big screen picture full of striking imagery.
This is a big studio picture, but director Burton has managed to keep the feel of the original and add a new quirk or two to the proceedings. It’s an enjoyably eccentric effort that revels in its own strangeness. While a few references may go over the heads of some moviegoers, it managed to put a big smile on the face of this viewer. Beetlejuice Beetlejuice is a solid sequel that delivers supernatural shenanigans in spades.
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