Tim Burton returns to the tangible strangeness of his early career with Beetlejuice Beetlejuice, aided by a game returning cast.
Tim Burton returns to the tangible strangeness of his early career with this long-coming sequel, aided by a game returning cast.
There’s a house, on a street, in a town, next to a river—or is it a model of a house, on a street, in a town, next to a river? Is this model a recreation of something real, or a ghostly apparition in itself? Are we driving down this street, suspended above a replica, or floating through something else altogether? These are the questions provoked in the opening moments of Tim Burton’sIn both cases, Danny Elfman’s brassy score bellows as white picket fences blur past.
The whole returning cast is game, with Catherine O’Hara and Ryder lending their characters a world-weariness in the set of their shoulders and roll of their eyes. By comparison, Keaton is tasked with reverting back to the crude impishness and wide gait of his first turn .
Early on, Lydia poses the following, in a performative, overly enunciated cadence fit for her live TV audience: “The living and the dead: Can they coexist? That’s what we’re here to find out.” Perhaps unfairly, that’s what the audience is subconsciously reckoning with too.
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