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Movie Name: Beetlejuice Beetlejuice
Directed by: Tim Burton
Starring: Michael Keaton, Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega, Willem Dafoe
Genre: Comedy, Fantasy, Horror
Running Time: 104 Minutes
Release Date: 06 September, 2024
Rating:
Production Companies: Plan B Entertainment, The Geffen Company, Tim Burton Productions
Budget: $100 million
Thirty-six years after the events of Beetlejuice, the Deetz family returns home to Winter River after Charles Deetz’s unexpected death. Lydia’s life is turned upside down when her rebellious teenage daughter, Astrid, discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened, releasing Betelgeuse.
Beetlejuice Beetlejuice: Movie Overview
Beetlejuice Beetlejuice is an upcoming American fantasy horror comedy film directed by Tim Burton from a screenplay by the writing team of Alfred Gough and Miles Millar, based on a story by Gough, Millar, and Seth Grahame-Smith. A sequel to Beetlejuice (1988) and the second film of the Beetlejuice franchise, it stars Michael Keaton, Winona Ryder, and Catherine O’Hara reprising their roles alongside new cast members Justin Theroux, Monica Bellucci, Jenna Ortega and Willem Dafoe.
Movie will open the 81st Venice International Film Festival on August 28, 2024. It is scheduled to be theatrically released overseas on September 4, 2024 and in the United States two days later on September 6, 2024, by Warner Bros. Pictures.
Movie will open the 81st Venice International Film Festival on August 28, 2024 at the Sala Grande in a non-competitive slot. The film is scheduled to be theatrically released by Warner Bros. Pictures on September 6, 2024, including IMAX engagements. In February 2024, the title of the film was revealed along with its release date reiterated. At their 2024 CineEurope presentation, Warner Bros. announced that the film would be released overseas on September 4, 2024, two days before its domestic premiere.
After a family tragedy, three generations of the Deetz family return home to Winter River. Still haunted by Beetlejuice, Lydia’s life is turned upside down when her teenage daughter, Astrid, accidentally opens the portal to the Afterlife.
Movie Trailer:
Movie Review:
This film is a sequel to the 1988 horror comedy about a renegade “bio-exorcist” liberated from afterlife. A family tragedy prompts three generations of the Deetz family back home to Winter River. Danny Elfman’s jumpy score helps us along the ghostly prelude as the town of Winter River comes into focus.
Lydia Deetz (Winona Ryder), the former Goth teen who interfaced with the spirit world, has now assumed the role of a distraught psychic mediator, who hosts her own paranormal TV show titled ‘Ghost House’. Her producer boyfriend, Rory (Justin Theroux), her unmanageable daughter, Astrid (Jenna Ortega), and her step-mother, Delores (Catherine O’ Hara), are the bane of her life. Lydia continues to be haunted by Beetlejuice and Astrid, who thinks her mother is delusional, accidentally opens the portal to the afterlife.
In essence, ‘Beetlejuice Beetlejuice’ is a poignant mother-daughter story but the many morbid ghoulish subplots that spring up right from the start feel scattered and unwieldy, until Burton exerts his considerable prowess and makes it all come good. Different storylines overlap here. Burton, though, appears to be back in control. He is in full creative command of the humour, the ghoulish imagination and the jubilant morbidity he became famous for.
DoP Haris Zambarloukos’ outstanding visuals, Danny Elfman’s eerie score, Colleen Atwood’s out-of-the-world costuming, Mark Scruton’s inventive production design, CGI work that seamlessly absorbs physical sets, puppetry, animatronix and hand-crafted effects are the highlight of this tribute to the original.
This 36-years-in-the-making follow-up has wonderful gags, macabre and grotesque elements, coupled with Burton’s visual inventiveness. The narrative may not seem coherent at first, but eventually it gets there. The connections to the past are brought in through pop-culture riffs and macabre humour. The director’s mercurial-macabre funereal style is very much in evidence here.
The idea that those who might watch this film may have also seen the original may not be practical — given the 36-year gap between the two films. So, for the newcomers to this strange work, this may indeed seem baffling. But for those who have seen the original, this film is indeed fulfilling. It has a lean runtime, the attention to detail is visible in every frame, the punchlines hit the right buttons, and the visuals are a treat. Burton’s supernatural caper is definitely comfort food for his myriad fans.
