Beetlejuice (1988), directed by Tim Burton, stars Michael Keaton, Geena Davis, Alec Baldwin, Winona Ryder, Catherine O’Hara, Jeffrey Jones, Glenn Shadix, Sylvia Sidney, Dick Cavett, Susan Kellermann, Robert Goulet, and Maree Cheatham. The film follows newlyweds Adam (Baldwin) and Barbara (Davis) who tragically pass away after moving into their dream home. Waking up as ghosts who now haunt this home, the couple is forced to learn the complex rules of the afterlife so they can scare away the insufferable family who have taken their place. With the help of the new family’s young daughter, Lydia (Ryder), Adam and Barbara realize that they aren’t very good at striking fear into the hearts of the living. Because of this, they enlist the help of a spirit named Betelgeuse (Keaton) – a ghost for hire who specializes in scaring the living senseless. Unfortunately for them, Betelgeuse has plans to stay in the real world no matter the cost.

As the title character, Micheal Keaton provides one of the most iconic performances in the history of cinema. Whether it’s his gruff voice, strange mannerisms, or dead-on comedic timing; Kreaton fills the character with a unique brand of icky, off-kilter fun. Thankfully, like all great film characters, Betelgeuse is the perfect blend of being well-written on the page as well as perfectly portrayed by the actor. He has very little screen time overall but leaves the impression that he was there throughout the entirety of the film. This is similar to what Anthony Hopkins would archive a few years later as Hannibal Lecter in Silence of the Lambs (1991), proving that it doesn’t take a lot of screen time for a great character to linger in one’s memory. Instead of wasting time with complicated exposition, the script uses small details to slowly paint the picture of who Betelgeuse is without feeling the need to overexplain the character. This gives him the right amount of mystery which in this case improves the character. The script is also smart in how it’s able to balance the creepy/gross aspects of Betelgeuse with the more fun/likable ones. For example, he’s often flirtatiously creepy to the female characters in ways that films today would never allow. However, the character never goes far enough with this kind of behavior to alienate the audience from enjoying his various antics. In a sense, we almost expect a demon to do worse, therefore making it all a tad more forgivable. Even when we hate him for his behavior, it’s palatable as a viewer, because, after all, he’s still a demon.

Thankfully, the film is also filled with committed performances from the various members of the cast. Burton offers up such a zany and strange comedic tone that I could see lesser performers feeling out of place within this universe. Davis and Baldwin give performances that remind one of a 1950s sitcom couple – idealistic and positive, yet hopelessly clueless. Besides Keaton, these two are the stars of the show, and ultimately I think their chemistry makes their performances a success. Ryder is also fun as the macabre daughter who can see ghosts and acts as the perfect foil to the countless goofball characters. Like Keaton, she isn’t as prevalent as I originally remembered, but ultimately fits into the plot in a satisfying and important way. Lastly, Catherine O’Hara chews the scenery as Lydia’s emotionally unhinged mother. She’s one of the most physically expressive actresses I’ve seen and this elevates her comedic delivery to something that’s effective in a rare sort of way. 

The film takes on the tone of a perfect dark comedy that is unique in terms of its visual style and characters. Betelgeuse’s look may give people the wrong impression that the film is more horror-centric than it truly is. In reality, the horror elements here are pretty tame and often lean toward comedy as opposed to scares. This sense of fun makes this feel more like a gothic fantasy experience than anything else. 

My only real problems with the experience is that some of the green screen is noticeably dated and I wish there were some stronger stakes throughout. The zaniness often sacrifices seriousness (naturally) and leaches a good amount of tension from the third act. I also think it’s such a streamlined experience that it leaves a person wanting just a bit more to wrap things up. That being said, I suppose I’d rather be left wanting more as opposed to feeling overstuffed (the more common issue). 

Overall, this is one of the most unique filmgoing experiences I can think of. It’s endlessly fun, doesn’t overstay its welcome, and features one of the most iconic characters/performances of all time. It also takes some risks with sequences that won’t appeal to everyone, but work wonderfully for those willing to go along for the ride. Love it or hate it, you probably haven’t seen anything like it. A-