‘Beetlejuice Beetlejuice’ Fizzles with Overcomplicated Plot but Delights with Michael Keaton’s Charm and Nostalgic Touches

“Beetlejuice Beetlejuice” is a wild, frenetic ride that attempts to recapture the magic of its predecessor but loses itself in a tangled web of subplots and a barrage of nostalgic nods. Where the 1988 Beetlejuice thrived on simplicity and the weirdly wonderful charm of a minimal but vivid plot, this sequel seems determined to throw everything at the wall—and unfortunately, very little sticks.

The original Beetlejuice worked because of its clear, straightforward premise: a newly dead couple navigating the afterlife while trying to haunt the yuppie intruders of their home. The movie balanced whimsy, dark humor, and grotesque charm with effortless style, largely thanks to Michael Keaton’s iconic performance and the sharp script honed through multiple rewrites. The simplicity allowed director Tim Burton to indulge in bizarre, otherworldly visuals without ever sacrificing the story.

Beetlejuice Beetlejuice, however, is a different beast. It attempts to modernize the tale, cramming in more characters and storylines than its 104-minute runtime can handle. Lydia Deetz (Winona Ryder, reprising her role) is now a mother to Astrid (Jenna Ortega), a teenager whose disaffection stems from a jumble of reasons: her activist work, her father’s mysterious disappearance, and her mother’s public persona. But this is just one thread in a disjointed tapestry. The movie also introduces Rory (Justin Theroux), Lydia’s underwhelming fiancé, Beetlejuice’s vengeful ex-wife Delores (Monica Bellucci), and a soul-sucking cop named Wolf Jackson (Willem Dafoe), each with their own half-baked arcs that never fully land.

The best positive takeaway I can take from this film is that Jenna Ortega is a star. More of her.

The film’s biggest sin is its overcomplication. The original succeeded because it kept its world manageable, letting the characters breathe and interact in meaningful ways. Here, the script introduces subplot after subplot, leaving little room for any of the characters to develop. Lydia’s father, Charles, is written out in a ludicrous Claymation shark attack, his absence handled in a way that’s both tasteless and unnecessarily convoluted. Astrid’s budding relationship with local boy Jeremy (Arthur Conti), who harbors a secret, feels tacked on, while Delores and Wolf’s afterlife antics seem plucked from a completely different movie.

Still, there are bright spots. Michael Keaton’s return as the mischievous, crude Beetlejuice is, unsurprisingly, the film’s highlight. His manic energy and deadpan humor breathe life into the film whenever he’s on screen, even if he’s sidelined for much of the runtime. Catherine O’Hara’s Delia is another scene-stealer, her interactions with Ortega’s Astrid mirroring her dynamic with Ryder’s Lydia in the original, to amusing effect.

But the chaotic story overshadows these performances. The sequel often relies on nostalgia as a crutch, leaning heavily on visual callbacks and recycled jokes. The iconic shrunken head gag from the first movie, for example, reappears as a call center of shrunken-headed workers, a joke that feels forced rather than clever. And while the original had moments of quiet reflection amidst its dark humor, this movie barrels forward without pause, leaving little room for emotional resonance or even coherent storytelling.

At its core, Beetlejuice Beetlejuice is less a continuation of the Deetz family saga and more a product of modern studio filmmaking’s obsession with branding and nostalgia. It’s clear the movie was designed to cash in on the cultural currency of the original rather than to expand its world in any meaningful way. Sure, it’s visually impressive and occasionally funny, but it lacks the heart and simplicity that made the original a classic.

In the end, Beetlejuice Beetlejuice feels like a missed opportunity. There’s a sense that something special could’ve been made if the filmmakers had trusted the audience to enjoy a more streamlined, character-driven story. Instead, we’re left with a jumbled, overstimulating sequel that feels more like a grab for attention (and cash) than a true continuation of the Beetlejuice legacy. Fans of the original might find some enjoyment in the nostalgic moments and Keaton’s return, but as a standalone film, it’s unlikely to have the lasting impact of its predecessor.

Stars: 2.5