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Beetlejuice Beetlejuice (2024)

If you’re anything like me, your initial response to the Beetlejuice 2 trailer was one of disbelief. The trailer features slow, sweeping shots of the familiar, rundown settings from the original film, accompanied by a somber rendition of the classic theme song. It builds up to the return of the beloved character, culminating in the iconic title reveal Beetlejuice, Beetlejuice. This style of trailer is reminiscent of those for Star Wars, Top Gun, and Ghostbusters. It’s both disheartening and somewhat amusing to see Beetlejuice, a film originally meant to stand alone, become part of Hollywood’s ongoing quest to launch new franchises.

I can confidently say that this film wouldn’t be nearly as impressive without Tim Burton at the helm. Known for his distinctive gothic horror style and practical effects, Burton often brings to life a whimsically grotesque universe, reminiscent of works like Corpse Bride, Sweeney Todd, and Batman (1989). In recent years, however, he has shifted towards more CGI-driven blockbuster films, such as Miss Peregrine’s Home for Peculiar Children, Dumbo, and Alice in Wonderland. In many ways, “Beetlejuice 2” marks a return to his roots. It revisits a project he last explored in the 1980s and brings back his signature macabre style along with a heavy reliance on practical effects. These elements infuse the film with a vibrancy, aesthetic, and character that I haven’t encountered in a mainstream sequel for quite some time. The use of puppets, handcrafted sets, and costumes helps preserve its quirky, creepy charm, which is undoubtedly the highlight of the film. The portrayal of ghosts, ghouls, and goblins in the Beetlejuice series is quite distinctive, as far as I know. The film operates like a live-action cartoon in its humor, execution, and style, and it truly shines when it fully embraces this aspect.

This playful tone is wonderfully captured by two supporting characters: Wolf Jackson (Willem Dafoe), a ghost who was once a movie star turned cop, and Delores (Monica Bellucci), Beetlejuice’s wronged and vengeful wife. When the film leans into its identity as a live-action slapstick horror comedy, it becomes an absolute joyride.

As superb as the direction is, the script is all over the place. The performances here are doing a lot. Ortega is trying her best but doesn’t have much to work with. Ryder, O’Hara, and Keaton are all giving genuinely earnest performances, especially in a movie that’s as silly as this one. Keaton, in particular, does a lot here. Even at 73, his performance is animated, energetic, and well-timed. The film works best when it’s embodying the traits of Keaton’s performance: erratic, buffoonish, and cartoonish. The climax of the film works well, acting as something of a crescendo of lunacy.

In the end, “Beetlejuice 2” offers a lighthearted and entertaining experience at the cinema. If you’re in the mood for some laughs, a good time, and impressive visual effects, you’re sure to enjoy it. However, if you prioritize emotional depth in films, you might find yourself unimpressed by the emotional moments that occur amidst the spooky antics.

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Ghostbusters: Frozen Empire

Nosferatu 2024

Furiosa: A Mad Max Saga (2024)

Dune: Part Two (2024)

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Ghostbusters: Frozen Empire (2024)

I’m an easy target for a Ghostbusters film. The original movie is nearly flawless, the sequel is certainly enjoyable, and I really liked Ghostbusters: Afterlife (as you can see here). So, my excitement for Ghostbusters: Frozen Empire was quite high, despite the questionable title. This time, we lack the same nostalgic vibe, but the film is genuinely funny and packed with action. What the late Ivan Reitman created 40 years ago has evolved, yet the essence of entertaining the audience remains intact.

Continuing from the events of Ghostbusters: Afterlife, the Spengler family Phoebe (McKenna Grace), Callie (Carrie Coon), and Trevor (Finn Wolfhard) along with Gary Grooberson (Paul Rudd), return to New York City, operating from the famous firehouse. After a successful ghost-catching mission leads to some unintended damage, Mayor Walter Peck (William Atherton) is once again intent on shutting down the Ghostbusters. He takes advantage of Phoebe’s youth by sidelining her. While feeling down, she encounters a ghost (Emily Alyn Lind) and forms a connection with it. Meanwhile, Ray Stantz (Dan Aykroyd) continues his work with the supernatural, and Winston Zeddemore (Ernie Hudson) is secretly funding a research lab in Staten Island to elevate their operations, with assistance from Janine Melnitz (Annie Potts). The team is evolving, and this change is becoming essential.

When Nadeem (Kumail Nanjiani) presents Ray with an ancient artifact, it accidentally releases a malevolent force that threatens to trigger a second Ice Age. To face this new challenge, both new Ghostbusters, including Celeste O’Connor’s Lucky and Logan Kim’s Podcast, and returning members like Bill Murray’s Peter Venkman must join forces. The outcome is the delightful chaos you’d expect from these ghost-hunting experts and their trainees.

Gil Kenan has taken over the directing responsibilities from Jason Reitman, although both collaborated on the screenplay. There are some awkward moments in the script, and Kenan’s direction feels a bit standard, but it still includes the franchise elements fans expect. Returning cinematographer Eric Steelberg maintains the visual style from the previous film, now set in New York City. Dario Marianelli steps in as the composer and does a commendable job. The main drawback is that Kenan and Reitman have crafted some solid humor that clashes with a rather generic villain, along with a subplot that probably should have been cut from the final version.

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Beetlejuice Beetlejuice (2024)

Nosferatu 2024

Furiosa: A Mad Max Saga (2024)

Dune: Part Two (2024)

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Nosferatu 2024

As I stepped into Nosferatu, I felt a mix of anticipation and uncertainty. Robert Eggers is a director I hold in high regard, but tackling a remake of a silent horror classic raised the stakes significantly. This wasn’t just any horror film; it was the very first horror film, a pivotal piece of cinema history, and one of the earliest works I explored during my film studies. Coupled with a cast that seemed overly polished for mainstream appeal, I braced myself for potential disappointment. However, by the end of the opening scene, my doubts began to fade. What I witnessed was more than a mere remake it was a revival, a film that pays homage to its origins while establishing itself in contemporary horror as something uniquely haunting, stunning, and vibrant.

It didn’t take long for the film to captivate me. The opening scene sent a shiver down my spine, delivering a fear that felt raw and relentless. From that point on, I realized I was in for an unforgettable experience. By the conclusion, all my reservations had vanished. This was more than just a remake; it was a cinematic journey that made me feel truly alive. Eggers has crafted a film that resembles the discovery of a forgotten folktale something ancient and haunting, brought back to life for a modern audience. It embodies the spirit of German Expressionism, featuring stunning cinematography and lighting, along with performances that strike a deep emotional chord. Nicolas Hoult particularly shone, even though some other performances veered into a bit of overacting.

THE TECHNICAL ASPECTS

Visually, the film is breathtaking, with Eggers displaying his most vibrant camerawork to date. Each shot is perfectly framed, utilizing sepia tones and black-and-white sequences every image feels deliberate, filled with authenticity and depth. The practical effects, or those that seemed practical, enhanced this realistic atmosphere, reminiscent of the original. The lighting, shadows, and overall composition pay homage to early cinematic techniques while advancing the art form. The camera movements keep you engaged, pulling you into the haunting, atmospheric realm that Eggers has masterfully created.

The sound design and musical score are particularly noteworthy. The jump scares are well-earned and never feel cheap, while the eerie soundtrack lingers in your mind long after the film ends. Certain scenes left a lasting impression on me, ones that I know will resurface in my thoughts for weeks to come. Although the violence is intense, it is paced so effectively that it never comes across as excessive. Darkness pervades nearly every scene, with only fleeting moments of sunlight breaking through. The subdued colors and foggy visuals enhance the oppressive atmosphere without feeling forced or clichéd.

CONCLUSION

At its essence, Nosferatu exemplifies how to achieve accessibility without sacrificing quality. With a familiar cast, realistic dialogue, and well-structured storytelling, it invites casual viewers in, while its artistic merit ensures it resonates with film enthusiasts. Eggers goes beyond merely recreating or adapting the original narrative; he reinvents it into something distinctly his own. He respects the principles of silent cinema while skillfully modernizing it for today’s audience in a way that feels both natural and justified.

While the film’s length surpasses two hours, which some might find daunting, in an industry where studios often favor quantity over quality, Nosferatu excels. Horror aficionados will certainly appreciate its chilling moments, but the film also stands out as a carefully crafted piece of art beyond its genre. It’s more than just a movie; it serves as a powerful reminder of how remakes can revitalize classic tales while highlighting their original significance.

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Beetlejuice Beetlejuice (2024)

Ghostbusters: Frozen Empire

Furiosa: A Mad Max Saga (2024)

Dune: Part Two (2024)

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Furiosa: A Mad Max Saga (2024)

I’m not a fan of sand. It’s gritty, rough, and annoying, and it seems to get everywhere. Yet, it serves as the primary setting for Furiosa: A Mad Max Saga, alongside a few stunning visuals. This type of landscape is common in many films, much like the revenge theme that Furiosa embodies. However, George Miller’s vibrant interpretation of this distinct world is far from ordinary. Despite the abundance of sand, Furiosa is brimming with dynamic characters, bursts of creative design, and some of the most intense action scenes since Fury Road.

Mad Max: Fury Road was not known for its heavy dialogue, and Furiosa follows a similar approach. Anya Taylor-Joy portrays the younger version of Furiosa, a role originally played by Charlize Theron in Fury Road. With only about 30 lines throughout the film, Taylor-Joy delivers a deeply emotional performance of a character fighting for survival while striving to hold onto her identity. Her expressive and captivating facial features convey Furiosa’s feelings in a raw, almost primal manner. There’s a distinct intensity in her interactions with others, shaped by the trauma of her lost childhood, evident in the subtle curl of her lip as she engages with her surroundings. While the finer details of her performance linger in my thoughts, her physicality is equally impressive. With minimal dialogue, she effectively communicates Furiosa’s evolution through her movements, posture, and growing confidence in wielding weapons as her journey unfolds.

In the first half of the film, Anya Taylor-Joy shares the role of Furiosa with Alyla Browne, who portrays her younger self. Browne delivers an outstanding performance alongside Chris Hemsworth, who plays Dr. Dementus. Without revealing too much, her character endures treatment that resembles that of an animal for a significant part of the story, showcasing the intense struggle she faces after experiencing unimaginable horrors. It’s a remarkable performance from a young talent.

However, he then surprises us with a darker side. Hemsworth delivers a performance that reveals a much more sinister character than I expected, given his previous roles. Beneath the bravado and playful exterior lies a truly malevolent individual, and he portrays this transformation beautifully. There are moments when that playful facade fades away, exposing the real monster lurking beneath the vibrant surface. The climactic confrontation reminded me of Rutger Hauer’s iconic speech in Blade Runner. I was genuinely impressed by his performance, and I hope to see more of this depth from Hemsworth in the future.

Furiosa prominently features orange and yellow as its primary colors, reflecting the apocalyptic theme and the sandy landscape. While this color scheme might make some films feel dull, George Miller’s interpretation of this universe transforms it into a vibrant canvas. Unlike many post-apocalyptic films that opt for a colder, more realistic aesthetic, Miller and his team embrace a more eccentric approach. The world of Mad Max is filled with oddities, and Furiosa is no different.

Take the vehicles, for example, which play a crucial role in the series. They are not just modes of transportation; they hold cultural and almost religious significance. Simply giving the antagonist a standard car or motorcycle would be an understatement. Instead, the film presents Dr. Dementus with a chariot pulled by motorcycles, showcasing just one of the many extraordinary vehicles featured throughout the movie, some of which even take to the skies. Each vehicle is uniquely painted and designed to resonate with the world and its various factions. They all feel personalized, as if each character’s vehicle is a true reflection of their identity. Achieving this level of customization amidst the chaos of numerous characters and elements on screen is no small feat.

The film features a multitude of vehicles racing across the screen, often engaged in intense battles, showcasing some remarkable stunt performances. Unlike its predecessor, this installment is not as action-packed, which allows the action sequences to breathe and develop rather than being relentless from beginning to end. At no point did I feel like I was witnessing something I had seen before; each moment felt fresh or creatively reimagined. Amidst all the fighting, there are numerous explosions, and fire plays a significant role in the film.

The muted color palette of the world makes the fire particularly striking when it appears. A group known as the War Boys, who are always painted white, incorporate fire into nearly everything they do, from their explosive spears to flamethrowers. This element is a recurring theme that resonates with me, as we witness Furiosa being shaped into the fierce warrior we know her to be. One standout scene features Anya Taylor-Joy pressed against a gate, nearly engulfed in flames as she attempts a rescue that she has previously failed. Everything about that shot from the costume design to Anya’s intense gaze into the camera perfectly encapsulated the essence of the film for me. It’s a world ablaze, yet we catch glimpses of the humanity that struggles to survive amidst the chaos. Despite the challenges she faces, Furiosa remains committed to her promises until the very end.

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Beetlejuice Beetlejuice (2024)

Ghostbusters: Frozen Empire

Nosferatu 2024

Dune: Part Two (2024)

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Dune: Part Two (2024)

I did not share the same enthusiasm for Dune: Part 1 as many others did. While it was undeniably one of the most visually impressive films I had seen in some time, the narrative often felt bogged down by excessive exposition and world-building. The conclusion also lacked a sense of fulfillment, as it culminated in a solitary ritual duel rather than a dramatic climax. Dividing a story into two parts presents its own set of challenges, yet each segment should ideally stand on its own merit. That being said, I found Dune: Part 2 to be as enjoyable as I had anticipated, and even more so than I expected. Christopher Nolan was correct in stating that this installment resembles Villeneuve’s Empire Strikes Back.

Certainly, a significant portion of the acclaim for the remarkable achievement of Dune: Part 2 can be attributed to Frank Herbert, the author of the original novels. Like many exceptional science fiction narratives, this story remains anchored in timeless conflicts of political, familial, and religious significance issues that continue to resonate today, even sixty years after the book’s initial release. Amidst the backdrop of intergalactic warfare, the narrative ultimately unfolds as a deeply human tale. Nonetheless, it is important to acknowledge Denis Villeneuve and his team for their efforts in realizing this vision. The creative direction, visual effects, cinematography, and costume design all enhanced the grandeur of Paul’s journey without overshadowing it.

Is Paul the Hero? The Answer is Nuanced

The meticulous approach taken by Denis Villeneuve and his co-writer Jon Spaihts in crafting a script of such immense scale is a key factor in the film’s success for me. Often, science fiction films place too much emphasis on flying spacecraft and extravagant visual effects, compromising chara ter depth for action (as seen in Avatar: The Way of Water). I appreciate Timothée Chalamet’s performance his aristocratic bone structure is striking but I had reservations in Part 1 regarding his lack of the traditional heroic physique. Even in this installment, witnessing him engage in hand-to-hand combat and emerge victorious felt somewhat implausible. However, Part 2 reveals that his character is far more complex than initially perceived.

If you have not yet viewed the film, I recommend skipping to the section titled Possibly a Perfect Sequel to avoid spoilers. Seriously, do yourself a favor and refrain from spoiling it.

In Dune: Part 2, Paul dedicates a significant portion of the film approximately half to two-thirds struggling against the prophecy and his mother’s urging to initiate a holy war against the Great Houses. He is haunted by visions of bloodshed and apocalyptic futures. It could be argued that the film does not sufficiently clarify his decision to consume the Water of Life after a prolonged period of resistance. It is suggested that a dream of Chani’s death or the need to explore additional potential futures to discover a means of saving everyone influences his choice.

As the narrative progresses, Paul begins to genuinely embrace his identity as the Messiah. He confronts the Fremen war council and, rather than adhering to tradition by dueling Stilgar (Javier Bardem), he delves into the histories of those present and leverages the Fremen’s religious zeal to rally them against the Harkonnens. While the Harkonnens are indeed adversaries, Paul is clearly exploiting the propaganda that Lady Jessica and the Bene Gesserit have instilled regarding the arrival of a savior.

His initial reluctance to accept the role of Mahdi makes his eventual acceptance of it all the more compelling. He decides to take the Emperor captive and ascend to the throne by marrying Princess Irulan. He consciously leads the Fremen into a conflict that far exceeds their previous struggles, which adds a chilling dimension to his transformation. Yet, there remains a vestige of his former self that surfaces when he gazes at Chani. His declaration, “I will love you as long as I breathe,” just before announcing his marriage to Princess Irulan, is a poignant moment that underscores his profound change. It raises the question of whether he truly believes he is rescuing the Fremen or if this belief serves as a justification for his grandiose ambitions.

Surprisingly Well-Written Minor Characters

Paul, of course, was well-written, but his own development also depended on his relationships with Lady Jessica and Chani. I haven’t read the books but, apparently, Villeneuve also made some changes to the script that gave these two female characters a greater role and presence on screen.

The movie could’ve easily side-lined Chani to be a passive love interest who blindly follows Paul, but instead, she challenges him and adds depth to their dynamic. She is skeptical that he’s the long-awaited Messiah and, at times, openly hostile to the idea that this white Duke from another planet is supposed to come and save the Fremen. However, we still see her fall in love with who he is, detached from the prophecy and politics, but there is always some tension in their relationship. In the book, apparently, she was loyal to Paul, stayed by his side and bore his children, even after he married Princess Irulan. Villeneuve allows her to be more vocal about her own beliefs and she makes it clear to him: You will never lose me as long as you stay who you are. She wasn’t afraid to leave when he chose to fulfill the prophecy, and she certainly wasn’t going to stick around while he married another.

Rebecca Ferguson’s portrayal of Lady Jessica was captivating and essential to the narrative. She has her own motives, and despite her husband and son holding titles, she exerts her own influence over them. One of my favorite moments was when she saved Paul’s life in the film’s opening scenes by striking a soldier. Her chilling monologue about swaying the weak-minded to support Paul showcases her manipulation of the Fremen. I’m still unsure if Jessica genuinely communicates with the fetus or if she’s merely using it as a strategy to control Paul. Her cunning nature makes her a compelling character to watch.

Austin Butler delivered one of my favorite performances as Feyd-Rautha; he was completely unpredictable and highly effective. I do wish Florence Pugh had a more substantial role; she mostly played a passive character, providing comments like, “Feyd-Rautha? He’s psychotic,” which didn’t quite shine. While it may not be an Oscar-worthy performance, I know she will have a more significant presence in Dune Messiah. Javier Bardem brought much-needed humor, and Josh Brolin fulfilled his role perfectly in the brief time he was on screen.

The Creativity and Scale of the Spectacle

Dune: Part 2 is a visual masterpiece. The expansive desert shots pay tribute to Lawrence of Arabia, the costume design enhances the otherworldly feel, and the spaceships and weapons are truly unique. I particularly enjoyed the metallic headgear worn by Princess Irulan during her brief appearance. Additionally, I was intrigued by the scene featuring the Muad-dib mouse sniffing the tube, accompanied by soft, mechanical inhalations. Moments later, it was incredibly satisfying to see the Fremen fighters emerge from the sand.

Two standout sequences, aside from the thrilling final battle, are the sandworm-riding and the striking black-and-white scenes on the Harkonnens’ home planet. It’s unfortunate that the trailer revealed so much of the sandworm riding, yet even after multiple viewings, the full sequence was still a breathtaking experience. The sheer size of the worm, the suspense leading up to the thumper’s activation, and the exhilaration we feel as Paul rises are truly unforgettable moments.

The black-and-white scenes featuring the Harkonnens were among my favorite elements of the film; they not only looked stunning but also effectively conveyed the character of Feyd-Rautha. He fights prisoners from House Atreides, but his victories only come when they are under the influence of drugs. This reflects his pride and desire to impress his uncle, which explains his fury when a guard injures the last undrugged prisoner. Austin Butler commanding Dave Bautista to kiss his feet was particularly striking, especially given Bautista’s imposing size, yet Butler exudes such authority. It was disappointing to see his character meet an early demise. Hats off to the makeup team for transforming him into someone nearly unrecognizable.

Possibly a Perfect Sequel

Dune: Part 2 stands out as a sci-fi masterpiece, featuring outstanding performances from the entire cast, a compelling script, and some of the most impressive visual effects in recent memory. It easily ranks as the best film released this year. While I wasn’t particularly fond of Part 1, I recognize that Part 2 wouldn’t have reached such heights without its solid foundation. Timothée Chalamet delivers a richly layered performance, adding complexity to Paul’s character and paving the way for a potential third installment.

The more I think about it, the more I like this movie. It checks so many of the boxes of a great sequel: it expands on the universe, adds depth to existing characters, ups the stakes, and sets up for another movie (post-credits scene optional). If The Dark Knight is Nolan’s perfect sequel, this is Villeneuve’s.

If you’re able, I highly recommend watching it in IMAX for the expanded aspect ratio, and definitely in 70mm IMAX if you’re lucky enough to live near one of the few theaters that support the format. Oh, and don’t forget to buy the cursed popcorn bucket too while you’re there.

The more I reflect on it, the more I appreciate this film. It fulfills many criteria for an excellent sequel: it broadens the universe, deepens the existing characters, raises the stakes, and paves the way for a potential follow-up (with a post-credits scene being a bonus). If The Dark Knight represents Nolan’s ideal sequel, then this is Villeneuve’s equivalent.

If you have the chance, I strongly suggest experiencing it in IMAX for the enhanced aspect ratio, and if you’re fortunate enough to be near a theater that offers 70mm IMAX, definitely take advantage of that. And while you’re there, make sure to grab the infamous popcorn bucket too!

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Beetlejuice Beetlejuice (2024)

Ghostbusters: Frozen Empire

Nosferatu 2024

Furiosa: A Mad Max Saga (2024)