The director’s long-imagined follow-up to his 1988 cult movie Beetlejuice revels in some gleefully silly moments while narrowly avoiding that dated feeling
ollywood has a history of reanimating the decaying corpses of long-dead movies with belated sequels, so perhaps it was just a matter of time before somebody delved into the grave markedsequel were reportedly under way for decades, Burton maintained that he would only consider it if Michael Keaton reprised the title role and any sequel remained faithful to the spirit of the morbidly eccentric original film. On both these counts,succeeds.
As the now adult Lydia Deetz, Winona Ryder rocks exactly the same Bauhaus-groupie haircut as her teenage self in the first film This sequel is set more or less in the present day – although time in Burton’s world is elastic – with the now adult Lydia Deetz rocking exactly the same haunted Victorian doll wardrobe and Bauhaus-groupie haircut as her teenage self in the first film. Lydia has achieved a degree of celebrity as a TV personality: she’s a “psychic mediator” and the host of a real-life hauntings show titled Ghost House. But she’s a shadow of her spiky former self.
“Where’s that obnoxious goth girl who tortured me?” inquires Lydia’s stepmum, Delia , whose dilettante flirtations with the art world have finally borne fruit: we meet her as her Manhattan solo performance art show tips into catastrophe. Where indeed? It seems as though Lydia has undergone a wholesale personality transplant, passing the mantle of prickly adolescent with a penchant for black eyeliner to her rebellious daughter Astrid .
A family tragedy brings everyone back to the house where it all started, offering an opportunity for the persistent Beetlejuice to inveigle his way out of the underworld and finally claim Lydia as his reluctant spouse. There’s a spurious subplot involving Monica Bellucci as Beetlejuice’s spurned ex-wife, who has pulled herself back together and has set her sights on reclaiming her man.
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