Rewatching this in 2024, it’s hard to tell what the scariest part of Beetlejuice is: The snake scene, the realization that your parents let you watch a PG movie that has the word “fuck” and way too many sexual references any child should be exposed to, or Alec Baldwin’s name appearing in the opening seconds of the film.

 

Tim Burton is a strange director, and it shows here when viewing through a critical lens. This film almost marks the start of his transition between his two styles: The quirky, comical nature of Pee-Wee’s Big Adventure and the darker fantasy of his later works he’s more known for. Pee-Wee’s Big Adventure also had some moments, specifically the hitchhiking scene, that seemed to be the creative jumping point for this film with the use of stop-motion creatures, intense focus on production design, and a love for horror.

 

As strange of a director as he comes across, there are so many elements that work here. Firstly, there’s the cast. You’ve got Alec Baldwin and Geena Davis as the newlydeads, Adam and Barbara, both of whom are nearly unrecognizable in a great, iconic way. Speaking of iconic, Winona Ryder is also here in one of her most recognizable roles as Lydia, an inspiration for goths gen X and beyond. And, of course, he can forget Michael Keaton as the crass, crude, how-is-this-movie-PG-with-this-character-and-why-did-they-make-an-animated-kid-show-about-him-and-even-include-him-in-Teen-Titans-Go titular character.

 

I think part of what makes parents of the younger millennial/older gen Z era introduce this movie too soon is that multiple cuts exist, mainly censored versions. During this era of 1988, it was extremely common for popular films to air on television, most of which would get a true PG edit to be able to play during prime time and maximize viewership, and this film was no exception. It even received a Disney Channel edit that aired in 1999 and 2002. Not only that, but also the 1998 VHS and LaserDisc versions were the censored versions. It wasn’t until 2008, for the 20th anniversary, that the original version of the film was made available for consumers again since its initial 1988 home video release.

 

All that said, does Beetlejuice still hold up all these years later, or are the broadway musical and upcoming sequel milking off of how we might feel about the film through unreliable memory?

 

Yes, it does hold up, but maybe not quite the way you remember it.

 

The film is very disjointed. It features a great cast, amazing production design, great practical effects that manages to find the fun in horror without being too scary, and the concept is truly fun. There’s great scenes sprinkled throughout the film but, overall, it’s just okay. The film gets by on its charm, unique visual identity, and, of course, the roughly fifteen minutes of Michael Keaton, but the film doesn’t really hold up to critical analysis. Its pacing is too slow, not much of it makes sense, and there aren’t real stakes until things get bonkers in the climax. There also isn’t much of a pulse to keep things moving and engaging, but the film isn’t entirely deceased. Despite everything you could point out that the film does wrong, it’s still a fun watch.

 

It’s hard to tell what direction the sequel is going to take, be it leaning more into comedy or seriousness or even bothering to find the balance. This film isn’t exactly lightning in a bottle, but there is a sense of care present that Tim Burton hasn’t shown in recent years. Either way, we can always hope for another good movie. Between Top Gun: Maverick, Twisters, and Alien: Romulus, legacy sequels seem to have finally figured out how to deliver a great viewing experience.

 

Thanks for bearing with me as I struggle to review this film without mentioning Beetlejuice three times.

 

Whoops! Hang on, I know how to send him back.

 

You can read our review of Beetlejuice Beetlejuice HERE! 

 

Oh, uh, Beetlejuice. Phew!