As a longtime fan of Tim Burton’s quirky and macabre universe, I must admit that my excitement for Beetlejuice Beetlejuice was through the roof! However, as someone who has witnessed Burton’s evolution from the gritty charm of his early films to the polished sheen of modern cinema, I can’t help but feel a tad disappointed.
In simpler terms, it’s been quite some time since Tim Burton created a truly captivating masterpiece such as “Ed Wood” or “Batman Returns.” From the 2010s onwards, his focus shifted to less enthusiastic remakes like “Alice in Wonderland,” “Dark Shadows,” and “Dumbo.” These projects were far from the engaging chaos of earlier Burton works like “Pee-Wee’s Big Adventure” or “Mars Attacks.” Watching something as dreary as 2005’s “Charlie and the Chocolate Factory,” the days of peak Burton lunacy like penguin pallbearers were a distant past
After a five-year hiatus from making new theatrical movies, Burton has resurfaced with the film titled “Beetlejuice Beetlejuice“. Following years of preparation, this sequel has emerged into reality, devoid of any Hawaiian mischief. As he delved back into the world of bothersome supernatural beings, Burton managed to rekindle his creative spark. However, much like many follow-up films from established franchises, “Beetlejuice Beetlejuice” struggles with striking a balance between the old and the new. Despite an amusing mix of eerie and humorous elements, the overcrowded screenplay by Alfred Gough and Miles Millar leaves little room for breathing space
Over three decades have passed since the initial release of “Beetlejuice”, and Lydia Deetz, portrayed by Winona Ryder, has found it challenging to move past the ghostly events from her past. Despite gaining notoriety through hosting a hit supernatural reality show, she is frequently haunted by apparitions in her everyday life. Her troubles are compounded by an overzealous manager and love interest, Rory (Justin Theroux). What Lydia lacks, however, is a strong, healthy relationship with her daughter Astrid (Jenna Ortega). Similar to Burton’s previous protagonist Ichabod Crane, Astrid has little patience for spiritual matters. Her skepticism often places her at odds with her mother. Matters become even more strained following the death of Astrid’s father, which further widens the rift between Astrid and her surviving parent
Charles Deetz’s unexpected demise not only reunites Astrid, Lydia, and Delia (played by Catherine O’Hara), but it also brings them back to the house where the original Beetlejuice story unfolded. As a result, they find themselves in close proximity to Betelgeuse (Michael Keaton), who continues to harbor an eternal affection for Lydia. This feelings only intensifies when Delores (Monica Bellucci), a dangerous figure from his past, reappears seeking revenge. The boundaries between the world of the living and the dead eventually blur, leading to a collision of these realms with the Beetlejuice tale, resulting in spooky consequences
In the movie “Beetlejuice Beetlejuice,” Ortega’s character Astrid is not just about reconnecting with Burton after their collaboration on Wednesday. Unfortunately, her role in this film highlights the challenges young actors face when they agree to star in nostalgia-driven blockbusters. As the story moves primarily into the world of the dead, Astrid has limited opportunities to act. Ortega is left mostly reacting to visual effects or serving as a prop, calling for help from her fictional mother. Fans who have witnessed her stellar performance in “The Fallout” are aware of Ortega’s ability to lead a film. Her work in “X” and the “Scream” series demonstrates her skill with horror
Similar to Dominique Fishback in “Transformers: Rise of the Beasts”, Rachel Zegler in “Shazam! Fury of the Gods”, and Kiersey Clemons in “The Flash”, Ortega in “Beetlejuice Beetlejuice” is another exceptionally talented young actor who is given a supporting role in a big-budget Hollywood production primarily to ignite nostalgia. The film industry’s fixation on the current era often stifles chances for fresh movie stars to establish themselves
I appreciate your succinct and easy-to-read language: Granted, despite the overly crowded screenplay. This congestion often leaves proceedings feeling a little breathless. This is a follow-up obsessed with giving every character more screen time and subplots. There are so many plates to juggle, yet few of them get room to breathe
In simpler terms, it seems that Rory’s mom was into crafting non-scary items like Halloween costumes and had a peculiar interest in gothic themes. She also spoke using terminology common among teens, such as “trauma-conscious” or referring to her hobby as a “villain.” It appears that she enjoyed creating non-scary decorations for Halloween and found amusement in gothic themes, often associated with teenage goths. Additionally, she would frequently use phrases like “punching bag” when playing board games and was known for her peculiar sense of humor, often referring to it as a “villain.”
Instead of disappointing, let’s say “unfulfilling” when referring to Ortega’s role in the movie. Also, instead of dragging the film down, it might be more engaging to express that certain aspects of the screenplay felt overly crowded or dense
As I delve into this twisted afterlife, I’m blown away by the outstanding set design, costumes, and makeup effects that bring it to life. It’s like stepping onto a film set from an old-school movie, and for those who can’t get enough of Beetlejuice, it’s a nostalgic treat. But what really makes this place exciting is the use of practical effects – real slime and blood that you can feel and see. It’s a refreshing change from all the digital trickery out there
Even though the Beetlejuice sequel, from 1988 to 2024, struggles to balance its old and new elements, it fails to maintain the original’s gritty appeal. Director Tim Burton and cinematographer Haris Zambarloukos utilized digital cameras like the Sony CineAlta Venice 2 for filming, which, combined with ultra-bright lighting, takes away some of the grunge from Beetlejuice’s universe. The blood still flows, but even the main character, the demon himself, isn’t as filthy as before. The production design and visual effects are top-notch, yet they appear too polished on-screen, giving an unwanted plastic look. The cinematographic style of 2024 doesn’t quite mesh with the visual effects grounded in 1988
For many movie viewers, the specific details of cinematography or a higher Danny Elfman score aren’t particularly crucial. What’s vital is that Keaton and Ryder are back in these roles for the first time in decades. It can be assured that the duo and other returning cast members like Catherine O’Hara deliver solid performances. Keaton isn’t doing anything groundbreaking or novel, having been granted the rights to Beetlejuice. Ten years after Birdman, there’s something undeniably peculiar about Hollywood using that drama as a stepping stone to get Keaton to rehash all his famous characters. On the one hand, it’s still sporadically amusing to see Keaton slide back into the role like nary a day has passed since the original Beetlejuice. Compared to Bill Murray’s stiff return in the last two Ghostbusters films, it’s especially easy to appreciate Keaton’s Beetlejuice Beetlejuice charms
I appreciate your graceful way of writing screenplays. Gough and Millar’s scatterbrained screenwriting tendencies, though, don’t give much meaning to performers like Ryder, Bellucci, or (of course) Ortega as much material as they should. A little less time spent on arch-villain Rory and more time letting Ryder shine would have worked wonders. If any Beetlejuice Beetlejuice, actor truly crushes shines, though, it’s Willem Dafoe. One of our best character actors here portrays Wolf Jackson, a B-movie leading man turned into a detective in the Land of the Dead. In a movie often too gripped with reverence for the past, Dafoe’s character sparkles with comedic ingenuity. Gags centered on his obsession with “real” line deliveries or a trusty assistant always around with a cup of coffee are a delight. Plus, the persistently reliable Dafoe executes the character with such committed irony-free flair. His line deliveries mix steely determination and timid vulnerability so hysterically well
It’s been some time since a Burton film delivered the enjoyment of Daniel Day-Lewis’ performance or visual spectacle comparable to the sets of Beetlejuice Beetlejuice. Yet, in an attempt to appreciate the past and present, Burton has ventured into areas beyond his capabilities. Unlike the troubled characters from Big Fish and Charlie and the Chocolate Factory, Burton cannot attribute the issues with Beetlejuice Beetlejuice to his father. Actors like Keaton and Ryder gave their best for this project, but unfortunately, not even the most eccentric ghost can escape the common flaws found in many contemporary legacy sequels
Translation: “It’s been a while since I apologized to you all…I cannot guarantee that I will never engage in such wordplay silliness again…”
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2024-09-05 19:17