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camshell · 1 month ago

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Watched '89 Batman just so I could read the original script and get mad at the changes. Spoilers, but also this won't make a lot of sense if you haven't already seen the movie

Starting off strong with the descriptions. I'm sure cranking up Jack's age some 20 years wouldn't make much of a difference to the plot...

I was going to say that the casting director is no Andrea Romano, but considering his name drops before Keaton's, I'm sure Nicholson was chosen through a more particular process. I wonder though, was that choice alone responsible for the "Joker kills Bruce's parents" idea? (side note, did Joker 2019 come up with *anything* new at all??) Or was it something that came up after they decided to erase Dick Grayson from the film to replace the original conflict?

Oh yeah, the Flying Grayson's episode happens in the original script. But let's look at Ace Chemicals first — which is not the name they used in the movie, just to piss me off

They cut out a whole section of the gang breaking into the plant. It's not a bad choice, I just liked the date makeup observation. Now to the meet cute--

Paralyzing talons? Are you kidding me, they got rid of that?? Oh, silly me, of course they did — that would get in the way of Batman's classic blowing-up-thugs rule.

Bruce didn't throw Jack off the platform here, but interestingly enough we still see him feeling guilty when he finds out that he inadvertently created Joker

And yes, this is almost the exact same moment that Tom King wrote in Batman/Catwoman. Gotta love the trope of Bruce bringing up his guilt over creating his arch-nemesis in the middle of an intimate moment with a beautiful woman on his bed. Now some random things they changed that stood out to me:

Every single time Joker acts blatantly childishly or is described as being on the verge of a tantrum is so funny. Sad that we could've had this instead of him thirsting over Vicky Vale.

This is the during the attack of the mimes on the city hall. I assume they decided to cut it out because that sort of ptsd goes a little against installing machine guns on the batmobile and striking down your enemies with military grade missiles.

They didn't pull a Joe Chill/Joker switcheroo here, Vale's guilt just dreamed of this scenario. The script goes a little deeper in expanding her relationship with Bruce. She figured out he's Batman on her own — saving up Alfred's skin — but unfortunately so does her colleague. As a self-designated nice guy, Knox tries to get Batman to break things off with Vicky. He's also waiting for the news of Joker's attacks to quiet down before exposing Batman's identity, but don't worry, the scripts solves this beautifully later on.

Anyways, instead of the confrontation at the apartment of Vicky Vale (also known as Bruce's "let's get nuts" moment and the devil in the moonlight quote) we have a chase scene that leads to Dick's introduction. Before that though comes probably the second scene I most wish they had kept in the movie

Yes, Batman chases Joker on a horse, first wearing a tuxedo, then his whole gear. Do you see what they took from us? What could've been?

Joker kills the Graysons with pretty explosions, Dick jumps onto Joker's van and tries to kill him but alas is detained by Batman and batnapped.

Batman then asks Alfred to take care of Dick and the last act is set in motion. Pushed by anger and guilt, Batman blows up Ace Chemicals (tho here we're supposed to believe the thugs managed to run out before the place crumbled) but Joker escapes and goes to set the balloon parade in motion.

Before he can blow away the public, Knox and Vicky create the bat signal to alert Batman about the balloons and Joker's plans are thwarted. Unfortunately (cough) this costs Knox his life. But hey, at least Batman's identity is safe.

Big explosions ensue, the batwing goes down and Bruce is almost left dead in the debris. Dick Grayson, now dawning his makeshift Robin suit, saves him and runs to enact his revenge on Joker.

They enter the cathedral, Joker and Dick exchange some bullets and Batman eventually catches up with Dick, knocking him out again. Then Batman manages to crawl up the stairs through inhuman effort against his fatal injuries, passes out just before reaching the final floor and uh... I'll just post this next part in full

He's made a friend... Attempted murder-suicide... Joker's taken out by a horde of Bats... This would probably have replaced Fight Club in my list of favorite movie endings if it ever came into existence.

Before I close up on our villain and hero's demises, I do have something to point out that I think was improved in the final script. Joker's Smylex — basically Joker Gas, originally meant to be called Smylenol — got added to beauty products and caused some people to die in the movie. I say some, because while we see 13 deaths reported there, here it's something that comes closer to the class of hundreds. He doesn't even invent it, originally; he just steals the formula from an old CIA project. Because the fatal product doesn't happen only when certain products are mixed together, a whole lot more end up becoming victims and Batman can't do much about it except cut out the source. It's just a detail, but I liked that they thought of an alternative. I may not like the Joker mob boss origin, but at least they let him keep his chemical prowess.

Now to the ending. Batman had a last minute bout of clarity and threw the bomb away, tangling it in the helicopter's ladder

Something something Batman offering Joker a last comfort before death... Endgame and Arkham City and...

Okay, that's pretty much what I've got. Am I mad we didn't get to have this? Kinda. But also, I didn't have big expectations for what actually came out, and it's still a pretty funny film. Besides, I think when it comes to Batman and mainly Joker, sticking to the comics, games and animations is the best way to go. Best to keep the incels focused on the live adaptations anyhow

#batman #joker #Batman 1989 #Michael Keaton #Jack Nicholson #batjokes #batman × joker #script #movie review #kinda

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rtfics · 3 months ago

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A very detailed, positive "Beetlejuice" review.

Lots of info about what happens, so consider this packed with spoilers.

‘Beetlejuice Beetlejuice’ Review: Winona Ryder and Michael Keaton Help Tim Burton Rediscover the Ghoulish Mischief of His Glory Days.

There’s an inventive sequence early in the unexpectedly delightful Beetlejuice Beetlejuice in which the Bee Gees’ “Tragedy” accompanies Monica Bellucci’s soul-sucking demoness as her hacked up body parts are shaken loose from crates in the afterlife’s lost-and-found warehouse, where she proceeds to stitch herself back together like a gorgeous DIY Frankenstein monster. That scene multitasks as a show of kinship with the same actor’s role as a vampire bride in Bram Stoker’s Dracula; a tribute from Tim Burton to a key Gothic literature inspiration; and a darkly delicious valentine to the director’s offscreen partner of the past two years.

One of many inspired set-pieces in a clever sequel laced with hilarious callbacks to the 1988 original and amusingly eclectic pop-culture references to everything from Carrie to Mario Bava, from Soul Train to Donna Summer, it’s not the only time during the movie that I scrawled, “Tim Burton’s back!” in my notes.

Any sequel coming 36 years after its predecessor is best approached with caution, this one especially so given that with the main exception of 2012’s Frankenweenie, Burton seemed to have misplaced his mojo somewhere around the turn of the new century — at least for this critic.

Tapping into the maniacally playful spirit of one of his enduring golden-era hits, the director seems reinvigorated. He serves up comparable tonic as well for two actors who were a big part not just of the original Beetlejuice but also of Burton’s Batman movies and Edward Scissorhands: Michael Keaton and Winona Ryder, respectively. The name in the credits of a second Batman Returns alum is no secret, but that actor’s droll extended cameo merits spoiler treatment.

Hollywood’s cynical strip-mining of successful IP in its quest for the everlasting franchise has taught us to be suspicious, so there’s something restorative for the audience, too, in experiencing a resuscitated screen property that’s actually fun — not to mention one that asserts its own reason to exist.

I sparked up and began to realize I was in good hands as soon as the spooky echo of Summer’s disco “MacArthur Park” cover segued to the first notes of a score by Danny Elfman, which starts in ominous mode and grows more devilishly jaunty as ace DP Haris Zambarloukos’ camera cruises through the sleepy town of Winter River and arrives at the hilltop haunted house purchased by the Deetz family in Beetlejuice.

Warner Bros. has been trying on and off to make a sequel happen since the early ’90s, most notably after the studio in 2011 hired Seth Grahame-Smith, who shares story credit here with screenwriters Alfred Gough and Miles Millar. Burton’s success pulling off such a zesty follow-up after so many years on the shelf is due as much to those writers, with whom he worked on Netflix’s Wednesday. That series’ star, Jenna Ortega, is chief among welcome new additions to the holdover crew of Keaton, Ryder, Catherine O’Hara and shrunken-headed Bob.

Still wearing the jagged black bangs she rocked as a goth teen, Ryder’s Lydia Deetz is now a widowed mother famous for hosting a reality show called Ghost House, where from a studio attic set she invites viewers to “Come in, if you dare.” Mimicking the formula of countless paranormal shows, Lydia coaxes guests to share chilling experiences of unexplained phenomena in their homes. But a triggering vision of Keaton’s Beetlejuice sitting among the studio audience reveals that the psychic mediator has not put her own haunted past behind her.

Lydia has a strained relationship with her teenage daughter, Astrid (Ortega), who resents her mother spending more time with the dead than with her own daughter and chafes at her disinclination to talk about her late father, Richard (Santiago Cabrera). He perished in an accident in the Amazon, and while Astrid thinks her mom’s supernatural insights are hokum, she petulantly gripes that Richard is the one ghost with whom she can’t communicate.

ensions between Lydia and her artist stepmother Delia (O’Hara) have eased over the years, despite the latter becoming even more self-absorbed in her shift from sculpture into mixed media. Her latest show is called The Human Canvas, and that canvas of course is Delia’s face and body.

The writers find a crafty solution to the awkward question of what to do about convicted sex offender Jeffrey Jones, who played Lydia’s father, Charles. In a spry Claymation sequence that’s classic Burton, we learn of Charles’ recent gruesome death — though naturally in the Beetlejuice world, death is more a pitstop than a destination, so the character lingers even if his original physical form is erased.

Barbara and Adam Maitland, the sweet, prematurely deceased couple played by Geena Davis and Alec Baldwin, are gone, however, as Lydia explains they’ve found a loophole. “How convenient,” scoffs Astrid, with a wink from the writers.

Charles’ funeral — whimsically accompanied by a boys choir singing a hymnal version of Harry Belafonte’s “Day-O,” another lovely callback — brings the family back to Winter River. Accompanying them is Lydia’s producer and soon-to-be fiancé, Rory (Justin Theroux), whose ridiculous tiny ponytail tags him as a phony, and whose “New Age, over-bonding, yoga-retreat bullshit” Astrid finds beneath contempt.

Wrapping the entire house, Christo-style, in black gauze, Delia sets about making her performative grief into a project dubbed The Art of Sorrow, while Rory seizes on Charles’ wake as the ideal time to propose to Lydia, who’s sufficiently caught off-guard to accept. Astrid’s disgust sends her speeding off into town, where she meets Jeremy (Arthur Conti), a fellow Dostoevsky fan and cool analog guy; they plan a date for Halloween night, when her mother’s “Witching Hour” wedding is scheduled.

While all this is going on, Bellucci’s Delores is terrorizing the netherworld, killing denizens “dead-dead” on her mission to claim the rotten soul of her husband, Beetlejuice. In a riotous touch that got huge laughs at the Venice press screening, their short-lived ghost marriage is recapped as a black-and-white, subtitled Italian mini-movie. Investigating Delores’ trail of destruction is Wolf Jackson (Willem Dafoe), a former TV action star now playing detective, with lots of cheesy direct-to-camera glances for dramatic emphasis.

The living (or “fleshbags,” as Jackson calls them) and the dead get tangled up when Astrid is tricked into a potentially fatal pact and Lydia is forced to summon Beetlejuice to help her cross over and save her daughter. Given that Beetlejuice doesn’t believe in free favors, an alternative wedding plan emerges to rescue him from Delores, a nightmarish scenario in which Lydia’s familiarity with the predatory sandworms of the afterlife’s exile desertscape comes in handy.

The zippy pacing, buoyant energy and steady stream of laugh-out-loud moments hint at the joy Burton appears to have found in revisiting this world, and for anyone who loved the first movie, it’s contagious. That applies also to the actors, all of whom warm to the dizzying lunacy.

The double-barrel title might suggest this is Keaton’s show, and he gets an ample share of antic opportunities — looking as moldy and slobby as ever and crawling with cockroaches — but he never crowds out anyone else in the strong ensemble.

is most exhilarating sequences include a stint as a trickster couples counselor when Rory decides Lydia needs to face “this construct of your trauma.” (The uproarious birth of a diabolical baby Beetlejuice during that scene yields one of animatronics chief Neal Scanlan’s most brilliant creations.)

If the use of Belafonte’s “Day-O” was a memorable high point of Beetlejuice, what the filmmakers and Keaton do with “MacArthur Park” in a wedding-from-hell climax takes the possessed lip-syncing and dance moves several steps further. The wedding cake with “sweet green icing flowing down” is a jubilant celebration of some of the daffiest lyrics ever set to music. And the fate of an assembly of cellphone-clutching influencers gathered in the church by Rory (“Nothing less than 5 million followers”) will bring bliss to anyone who ever rolled their eyes about that “career” path.

Ryder goes beat for beat with Keaton as the yin of the movie to his rancidly irreverant yang. The actress transports us back to the enchanting screen persona of her late teens, not just in Beetlejuice but also in movies like Edward Scissorhands, Mermaids and Heathers, in which she radiated a singular mix of smarts, sweetness and innocence but was just as effective when she veered into darkness. As much as anything, Beetlejuice Beetlejuice is a poignant mother-daughter story, played with real heart by both Ryder and Ortega.

The movie’s pleasures extend to Zambarloukos’ dynamic visuals and Elfman’s score, which has all the qualities of his collaborative peak with Burton plus distinctive new flavors. Another frequent collaborator, costume designer Colleen Atwood, does striking work for characters on both sides of the mortality divide, while production designer Mark Scruton has a ball creating a whole new network of afterlife antechambers, admin offices and departure terminals.

CG work is no doubt extensive but one of the sequel’s charms is how much its physical sets, puppetry and phantasmagoria stick to a hand-crafted look in line with the far more limited effects tools available in the late ’80s. It’s rewarding to have Burton back in full creative command of the humor, the fantastical imagination and the gleeful morbidity on which he built his name.

#Beetlejuice Beetlejuice #Beetlejuice 2 #Beetlejuice spoilers #Beetlejuice sequel #Michael Keaton #Tim Burton #Beetlejuice Beetlejuice review

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