Beetlejuice Beetlejuice Review

Beetlejuice Beetlejuice, the 36 years in the making sequel to the inventive original, finds ways to capture the spirit of what long ago preceded it. On the other hand, Tim Burton’s follow-up is just 12 minutes longer than the first. Unfortunately it feels about 30 minutes longer as it’s packed with too many characters and storylines. Busier is not better in this paranormal case.

Speaking of the paranormal, Lydia Deetz (Winona Ryder) was last seen as the death obsessed teen back in ’88 who was able to see the ghosts of the dearly departed couple who owned the house she moved into. Now she hosts a popular talk show where she helps guests conjure lost loved ones. Lydia has a conniving boyfriend who’s also her producer (a delightfully smarmy Justin Theroux) and an estranged daughter Astrid (Jenna Ortega) at boarding school. She also has visions of the demented “bio-exorcist” squared title character (Michael Keaton) who tried to marry her way back when.

When Lydia’s father Charles (Jeffrey Jones, not in the film but his character cleverly is) passes, Lydia and her unorthodox posse travel back to quaint Winter River, Connecticut for the funeral. That includes oddly artistic stepmom Delia (Catherine O’Hara). Astrid, who doesn’t believe in ghosts despite the Deetz history but shares mom’s downbeat worldview, meets an intriguing outcast and potential love interest Jeremy (Arthur Conti). She is additionally primed for introduction for Mr. Juice if his name is iconically uttered three times.

Beetlejuice has his own familial issues. Ex-wife Delores (Monica Bellucci) is stalking him in the afterlife so he’s desperately looking to join the physical world and wed Lydia after their first ceremony was indefinitely postponed. Willem Dafoe turns up as a detective in the hereafter. His qualifications to be a sleuth? He’s a former B actor who played one on TV!

There’s a lot going on in Beetlejuice Beetlejuice and the first act is a slight slog to establish all the subplots. Once that occurs, I thought one in particular could’ve been jettisoned completely and that’s the ‘Juice/Delores angle. Dafoe is having a ball but his screen time feels superfluous.

Some of what going on is reminiscent of the darkly amusing pleasures that Beetlejuice brought. Ryder and O’Hara (who’s always a joy) slip effortlessly into their characters and Ortega is a fine addition (she’s had her practice on Netflix’s Wednesday which Burton is a creative force behind). There’s plenty of fun PG-13 level gross visual effects and of course Keaton is reliable for some highlights.

So where are Barbara (Geena Davis) and Richard (Alec Baldwin) – the Maitlands from part 1? The sequel cheekily explains their absence in a flippant manner. I kind of appreciated that this backstory isn’t delved into. After all, this film is plenty crowded. That said, the Maitlands were the audience’s conduit to the bizarro world that Burton and company constructed. It’s an aspect that is missing here. Beetlejuice Beetlejuice is on track intermittently even if its soul can feel departed.

**1/2 (out of four)

Beetlejuice Beetlejuice Box Office Prediction

Over three and a half decades after the original made a killing at the box office, Beetlejuice Beetlejuice appears in theaters on September 6th. Tim Burton returns to direct the macabre comedy with Michael Keaton reprising his title role as the demented bio-exorcist. Winona Ryder and Catherine O’Hara are back as Lydia and Delia Deetz with Jenna Ortega (hot off Netflix’s Wednesday from exec producer Burton) joining as third gen Deetz. Other newcomers to the franchise are Justin Theroux, Monica Bellucci, and Willem Dafoe.

The long-in-development sequel received a high-profile slot kicking off the Venice Film Festival this week. Reviews are mostly fresh with many critics saying it’s a return to form for its filmmaker. In 1988, Beetlejuice grossed $74 million domestically and was the 10th highest earner of the year. Since then, its reputation has grown as a classic genre mixup of humor and genial horror.

This should succeed in bringing in 36 years worth of fans and it doesn’t hurt that Ortega is present. Tracking continues to tick up from $65-75 million as it’s now expected to rise above well above that and maybe even in nine figures. The domestic September opening weekend records are held by 2017’s It ($123 million) and its 2019 sequel It Chapter Two with $91 million. Third place belongs to the MCU’s Shang-Chi and the Legend of the Ten Rings at $75 million.

Beetlejuice Beetlejuice should face no trouble achieving second place and it could absolutely come in first. The momentum appears real and I’ll say it gets beyond the century mark.

Beetlejuice Beetlejuice opening weekend prediction: $115.7 million

Oscar Predictions: Beetlejuice Beetlejuice

It was surprising when the Venice organizers announced that Beetlejuice Beetlejuice (out September 6th) would open their film festival which kicked off today. The long-in-development sequel (as in 36 years) brings Tim Burton back in the director’s chair with Michael Keaton reprising his iconic role as the ghost with the most. Winona Ryder and Catherine O’Hara return with Jenna Ortega (who stars in Netflix’s Wednesday from Burton), Justin Theroux, Monica Bellucci, and Willem Dafoe entering the macabre universe.

Projections have Beetlejuice squared circling big numbers at the box office. The Italian premiere announcement has prognosticators pondering the awards viability. The 1988 original earned a sole Oscar nod and it won Best Makeup (before it was Makeup and Hairstyling), beating out a worthy competitor in Coming to America.

Most of the reviews for the follow-up are in the plus column with 21 out of the current 27 sporting red on Rotten Tomatoes. Many are saying it’s a welcome return to form for Burton. It could certainly land another Makeup mention though defeating Dune: Part Two won’t be an easy chore. I wouldn’t totally rule out Production Design or Visual Effects as possibilities.

Anything beyond that is unlikely as the same probably holds true for its Golden Globes chances in Musical/Comedy. My Oscar Prediction posts will continue with frequency now that Venice is underway…

Oscars 2019: The Case of Little Women

My Case of posts discussing the pros and cons of Oscar nominees in the major categories continues with Best Picture hopeful Little Women from director Greta Gerwig. If you missed my first four write-ups in the biggest race of all, you can read them here:

https://toddmthatcher.com/2020/01/14/oscars-2019-the-case-of-ford-v-ferrari/

https://toddmthatcher.com/2020/01/15/oscars-2019-the-case-of-the-irishman/

https://toddmthatcher.com/2020/01/17/oscars-2019-the-case-of-jojo-rabbit/

https://toddmthatcher.com/2020/01/18/oscars-2019-the-case-of-joker/

The Case for Little Women

Based on the beloved 1868 Louisa May Alcott novel, Gerwig’s version of Little Women drew raves from the critical community. The 95% Rotten Tomatoes rating stands among the highest of the nine pictures. Previous adaptations have garnered Academy attention as well. The 1994 rendering saw Winona Ryder nominated for Actress in addition to Costume Design and Score. Back in 1949, that version took home Art Direction and got a Cinematography nod. Yet this is the first adaptation since 1933’s classic to be named in Best Picture. The box office is strong at $80 million as it looks to top the century mark before the ceremony airs.

The Case Against Little Women

It has missed numerous nominations in key precursors. The pic was ignored by SAG and didn’t get named in Picture at the Golden Globes. Gerwig didn’t make the final cut in Best Director from the Academy. As discussed before, it’s rare for the Picture recipient to win without attention there. Many prognosticators even questioned whether it would make it in this race and the same can be said for Saoirse Ronan and Florence Pugh in their acting categories (though they did get in). The six nominations are certainly under the total count of the heavy hitters.

The Verdict

It is a remote possibility that Gerwig could win Adapted Screenplay since she was snubbed for Director. As far as this taking Best Picture, I wouldn’t look for the fourth time to be the charm among Alcott adaptations. This appears to be heading the route of Gerwig’s previous acclaimed effort Lady Bird which had five nominations and zero victories.

Up next in my Case of posts… Marriage Story!

Little Women Box Office Prediction

It’s certainly not the first adaptation of Louisa May Alcott’s period drama novel released over 150 years ago, but the latest version of Little Women is the first for this generation. Greta Gerwig (coming off her Oscar nominated Lady Bird) directs and reunites with her star Saoirse Ronan. Other costars include Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Timothee Chalamet, Tracy Letts, Bob Odenkirk, Chris Cooper, and Meryl Streep.

The reported $40 million production is garnering Oscar buzz and the Rotten Tomatoes meter sits at 97%. As mentioned, this is the first adaptation of the famed novel since 1994. Winona Ryder and Susan Sarandon headlined that iteration, which took in $50 million at the time domestically.

Little Women should prove to be a strong option for the female audience over the long holiday weekend. It opens Christmas Day and if history is any guide, its Wednesday and Thursday earnings might be about equal to the traditional weekend Friday to Sunday haul.

I’ll say the March sisters begin in the low to mid teens range for the final 2019 weekend and that means mid to high 20s for the five-day rollout.

Little Women opening weekend prediction: $14.5 million (Friday to Sunday); $28.7 million (Wednesday to Sunday)

For my Spies in Disguise prediction, click here:

https://toddmthatcher.com/2019/12/17/spies-in-disguise-box-office-prediction/

For my Uncut Gems prediction, click here:

https://toddmthatcher.com/2019/12/22/uncut-gems-box-office-prediction/

Best Actress: A Look Back

Back at it again with my look back at major Oscar races from 1990 to the present! We’ve arrived at Best Actress. If you missed my previous posts covering the Supporting performers, you can find them here:

https://toddmthatcher.com/2018/10/25/best-supporting-actor-a-look-back/

https://toddmthatcher.com/2018/10/20/best-supporting-actress-a-look-back/

As I did with those posts, I’m selecting my top 3 least surprising winners and top 3 upsets. I’m also giving you my personal pick for strongest and weakest fields from the past 28 years.

For starters, here’s the list of winners from 1990 to now:

1990 – Kathy Bates, Misery

1991 – Jodie Foster, The Silence of the Lambs

1992 – Emma Thompson, Howards End

1993 – Holly Hunter, The Piano

1994 – Jessica Lange, Blue Sky

1995 – Susan Sarandon, Dead Man Walking

1996 – Frances McDormand, Fargo

1997 – Helen Hunt, As Good As It Gets

1998 – Gwyneth Paltrow, Shakespeare in Love

1999 – Hilary Swank, Boys Don’t Cry

2000 – Julia Roberts, Erin Brockovich

2001 – Halle Berry, Monster’s Ball

2002 – Nicole Kidman, The Hours

2003 – Charlize Theron, Monster

2004 – Hilary Swank, Million Dollar Baby

2005 – Reese Witherspoon, Walk the Line

2006 – Helen Mirren, The Queen

2007 – Marion Cotillard, La Vie en Rose

2008 – Kate Winslet, The Reader

2009 – Sandra Bullock, The Blind Side

2010 – Natalie Portman, Black Swan

2011 – Meryl Streep, The Iron Lady

2012 – Jennifer Lawrence, Silver Linings Playbook

2013 – Cate Blanchett, Blue Jasmine

2014 – Julianne Moore, Still Alice

2015 – Brie Larson, Room

2016 – Emma Stone, La La Land

2017 – Frances McDormand, Three Billboards Outside Ebbing, Missouri

When it comes to Best Actress, I must say it’s probably the race with the least amount of genuine upsets. Nearly every year, there’s a pretty strong front-runner and they win – even more so than in Actor and the Supporting players. Of many non-surprises, here’s my top ones:

3. Holly Hunter, The Piano

Hunter’s work as a mute piano player in Jane Campion’s period piece was the clear favorite over significant competition that included Angela Bassett in What’s Love Got to Do With It? and the previous year’s winner Emma Thompson in The Remains of the Day.

2. Julia Roberts, Erin Brockovich

One of Hollywood’s biggest stars had already received nods for Steel Magnolias and Pretty Woman and there was little question that Brockovich would earn Roberts her first and only (so far) trip to the Oscar stage.

1. Charlize Theron, Monster

Theron’s metamorphosis into serial killer Aileen Wuornos swept all precursors. The rest of the field was also fairly weak that year, making her the obvious victor.

https://www.youtube.com/watch?v=ruN_KcF-Ouw

And now the “upsets”…

3. Kate Winslet, The Reader

While not a surprise when she won Oscar night, the multi-nominated Winslet was expected for much of the year to get a nod for Revolutionary Road instead. Yet it was this Stephen Daldry drama that was selected instead.

2. Marion Cotillard, La Vie en Rose

This was a two-way contest between Cotillard and veteran Julie Christie for Away from Her, with many believing the latter had the edge. It didn’t turn out that way.

https://www.youtube.com/watch?v=JmvshduaOhU

1. Hilary Swank, Boys Don’t Cry and Hilary Swank, Million Dollar Baby

This #1 comes with a caveat. It wasn’t much of an upset by the time Swank won her double Oscars. What’s interesting here is that she single-handedly denied two prime opportunities for the winless Annette Bening to get a statue for American Beauty and Being Julia.

We move to the fields. For weakest field, I’m selecting 1994 when Jessica Lange won for the little-seen Blue Sky. Other nominees were Jodie Foster in Nell, Miranda Richardson in Tom&Viv, Winona Ryder for Little Women, and Susan Sarandon in The Client.

Strongest group in my opinion goes to 2010 with Natalie Portman’s victorious role in Black Swan. The rest of that impressive field is Annette Bening (The Kids Are All Right), Nicole Kidman (Rabbit Hole), Jennifer Lawrence’s first nomination in Winter’s Bone, and Michelle Williams (Blue Valentine).

Best Actor is next, folks! Stay tuned…

Best Supporting Actress: A Look Back

Today begins a new blog series where I’m looking back at five of the major Oscar categories from 1990 to the present: the four acting races and Best Picture. This is essentially the time period where I’ve closely watched and analyzed. My charge? Picking the three largest upsets in each said category and the three least surprising winners… a film or performer where it truly would have been a shock if they didn’t emerge victorious.

We begin with Best Supporting Actress and this is one in which there have been some genuine upsets over the past quarter century plus. Unlike some other races we’ll get to later, it was not a challenge to pick three unexpected winners.

The other agenda item here is I’m picking my personal selections for strongest and weakest overall field among the five nominees in the acting derby’s and five-ten for Best Picture.

For starters, here’s the list of women that won gold statues in the supporting race from 1990 to now:

1990 – Whoopi Goldberg, Ghost

1991 – Mercedes Ruehl, The Fisher King

1992 – Marisa Tomei, My Cousin Vinny

1993 – Anna Paquin, The Piano

1994 – Dianne Wiest, Bullets Over Broadway

1995 – Mira Sorvino, Mighty Aphrodite

1996 – Juliette Binoche, The English Patient

1997 – Kim Basinger, L.A. Confidential

1998 – Judi Dench, Shakespeare in Love

1999 – Angelina Jolie, Girl, Interrupted

2000 – Marcia Gay Harden, Pollock

2001 – Jennifer Connelly, A Beautiful Mind

2002 – Catherine Zeta-Jones, Chicago

2003 – Renee Zellweger, Cold Mountain

2004 – Cate Blanchett, The Aviator

2005 – Rachel Weisz, The Constant Gardner

2006 – Jennifer Hudson, Dreamgirls

2007 – Tilda Swinton, Michael Clayton

2008 – Penelope Cruz, Vicky Christina Barcelona

2009 – Mo’Nique, Precious

2010 – Melissa Leo, The Fighter

2011 – Octavia Spencer, The Help

2012 – Anne Hathaway, Les Miserables

2013 – Lupita Nyong’o, 12 Years a Slave

2014 – Patricia Arquette, Boyhood

2015 – Alicia Vikander, The Danish Girl

2016 – Viola Davis, Fences

2017 – Allison Janney, I, Tonya

I’ll begin with the least surprising winners. Truthfully, there are plenty of selections (and will be in each race) to pick from here. It’s normal procedure for the front runner to actually win. Here’s three that did just that:

3. Dianne Wiest, Bullets Over Broadway

Of the 28 recipients to choose from, note that 3 of them were under the direction of Woody Allen. None were surprise winners. That’s most evident with Wiest’s showcase work as an aging diva here. Her win here came just eight years following her Oscar winning role in another Allen pic, Hannah and Her Sisters.

2. Jennifer Hudson, Dreamgirls

Fans of the Broadway play this is based upon knew Ms. Hudson could have a legitimate breakthrough part here. She nailed it and her win was never in much doubt.

1. Anne Hathaway, Les Miserables

Similar to Hudson’s victory, Hathaway’s casting as Fantine and her “I Dreamed a Dream” dramatic solo made her the odds-on favorite from the moment the project was announced. That never changed.

Now we get to the upsets and there were four to choose from. I could easily include Anna Paquin in The Piano, who became the second youngest winner when she beat out favorite Winona Ryder for The Age of Innocence. Here’s 3 I rank as even more surprising:

3. Marcia Gay Harden, Pollock

Harden had won no significant precursors and Kate Hudson was expected to have her name called for Almost Famous. She wasn’t even nominated for a Golden Globe or SAG.

2. Juliette Binoche, The English Patient

While the film itself was the anticipated winner for Picture (which it did), the Oscars were expected to select the legendary Lauren Bacall for her work in Barbra Streisand’s The Mirror Has Two Faces. Yet it was Binoche’s performance that was unexpectedly honored.

1. Marisa Tomei, My Cousin Vinny

For starters, comedic roles are rarely nominated and wins are even more unheard of. Tomei was a newcomer in a picture that wasn’t a factor in any other category. Her competition was a list of venerable actresses: Judy Davis (Husbands and Wives), Joan Plowright (Enchanted April), Vanessa Redgrave (Howards End), and Miranda Richardson (Damages). The victory here was so shocking that conspiracy theories emerged that presenter Jack Palance had accidentally read the wrong name. That’s been debunked, but Tomei’s trip to the stage remains one of Oscar’s largest jaw droppers.

As for the fields, I’m going with 1991 for the weakest link in the chain. I probably would have given the award to Juliette Lewis in Cape Fear. However, the group was not particularly strong:

Mercedes Ruehl, The Fisher King (Winner)

Diane Ladd, Rambling Rose

Juliette Lewis, Cape Fear

Kate Nelligan, The Prince of Tides

Jessica Tandy, Fried Green Tomatoes

For the strongest field overall, I went with 2004 when Cate Blanchett won for her portrayal of Katherine Hepburn in Martin Scorsese’s The Aviator. The other nominees:

Laura Linney, Kinsey

Virginia Madsen, Sideways

Sophie Okonedo, Hotel Rwanda

Natalie Portman, Closer

And there you have it! I’ll have Supporting Actor up soon…

This Day in Movie History: February 18

20 years ago Today in Movie History – February 18 – Ben Stiller made his directorial debut with the now Gen X classic Reality Bites. The romantic comedy/drama starring Winona Ryder helped establish not only Stiller, but also Ethan Hawke and Janeane Garafalo as rising stars. Its soundtrack was also a hit and include the single “Stay” by Lisa Loeb. Stiller could onto direct The Cable Guy, Zoolander, Tropic Thunder, and The Secret Life of Walter Mitty.

As for birthdays – John Travolta is 60 today. After becoming known to TV viewers from “Welcome Back, Kotter”, he very successfully transitioned into film with late 70s megahits Saturday Night Fever and Grease and Urban Cowboy in 1980. After some lean years in which only his Look Who’s Talking flicks did well, he had one of the most notable comebacks in film history with 1994’s Pulp Fiction. Since then he’s starred in numerous commercial and critical hits including Get Shorty, Broken Arrow, Phenomenon, Michael, Face/Off, Primary Colors, and Swordfish. He’s had some flops too – particularly the disastrous Battlefield Earth.

Matt Dillon is 50 today. He broke out in the early 80s in such pictures as My Bodyguard, Rumble Fish, The Outsiders, and The Flamingo Kid. He had a major critical hit in Gus Van Sant’s 1989 indie pic Drugstore Cowboy and a big comedic breakout in the smash There’s Something About Mary. Other notable movies include Singles, To Die For, Beautiful Girls, Wild Things, and Crash.

As for Six Degrees of Separation between them:

John Travolta was in Get Shorty with Gene Hackman

Gene Hackman was in Target with Matt Dillon

And that’s today – February 18 – in Movie History!

Homefront Box Office Prediction

The omnipresent James Franco is back in theaters again over the Thanksgiving weekend with Homefront, in which he plays a meth dealer dueling with a DEA agent played by Jason Statham. The film costars Winona Ryder and Kate Bosworth. Franco has been a busy man in 2013 with Oz the Great and Powerful, Spring Breakers, and This is the End. This is likely to be his least talked about picture.

While TV ads have been showing frequently for Homefront, I don’t see this doing a whole lotta business over the holiday frame. Recent Statham flicks have been met with lukewarm openings: 2011’s Killer Elite at $9.3M, 2012’s Safe with $7.8M, and this year’s Parker with $7 million. The screenplay is actually written by Sylvester Stallone, who once envisioned this as a starring vehicle for him. Reviews have been mostly negative so far.

The Thanksgiving time frame may allow Homefront slightly higher numbers than the last couple of Statham pics. Not much higher, though.

Homefront opening weekend prediction: $8.7 million (Friday-to-Sunday), $12.8 million (Wednesday-to-Sunday)