*Beetlejuice* (1988) – "I've seen *The Exorcist* one hundred and sixty-seven times, and it keeps getting funnier every time I see it!"

While trying to avoid hitting a dog, a couple plunges into a river and subsequently drowns. New residents move into their home, but to scare them away, the couple seeks help from a demonic bio-exorcist: Beetlejuice.

This is undoubtedly the most eccentric and baroque work from a director with a similarly eccentric mind, and the first to be so personal. It's no surprise the script appealed to the filmmaker, as it explores the world of the dead and outcasts interacting with frivolous characters. The dialogue is delicious, with a steady flow of dark humor and mischievous pranks. The myriad of deaths seen in the waiting room of the afterlife bureaucracy is both amusing and a clear nod to Tim Burton's fondness for black comedy. Constantly oscillating between slapstick and raunchiness, the film always strikes the right tone. The stop-motion special effects add undeniable charm—a charm that digital effects and CGI will never overshadow, as they aren’t aiming for realism but rather bringing Tim Burton's imagination to life. Michael Keaton delivers a truly unforgettable performance with limited screen time, playing a lecherous yet hilarious character. In short, *Beetlejuice* is a wacky and offbeat film that we’ll never tire of watching.

*Beetlejuice Beetlejuice* – "Being dead is tough. I find life even harder."

"The ceremony was traditional. We drank each other’s blood. With our teeth, we tore off two chickens' heads, and then we sacrificed a goat."

Beetlejuice Returns: Nostalgia Meets a Bewildering Sequel

Lydia continues to be haunted by the lingering presence of Beetlejuice, while her daughter opens a portal leading to certain death.

Tim Burton never quite recaptures the genius of the first film. In this sequel, his direction feels uncertain, as though he’s a novice pilot unsure of his destination. Burton has always had a preference for telling stories about monsters rather than humans, and it shows here. The antagonist feels superfluous, and one wonders why Monica Bellucci was brought into the project—perhaps out of sentimental nepotism. As for Jenna Ortega's character, clearly a marketing choice, her role is reduced to a mere subplot, and her attempt to channel the quirky, catchy energy of the *Banana Boat Song* falls flat. Additionally, the protagonist’s previously provocative traits have been sanitized, perhaps a victim of modern sensibilities. Is this a sign of an insidious return to puritanism? Nonetheless, the film will satisfy those nostalgic for the wild-haired demon, the unchanged house, and even the somewhat shabby stop-motion special effects. And the twist? It’s a delight. In the end, it’s a puzzling, disjointed work, but with a certain charm.