The return of "Beetlejuice," a cult classic originally released in 1988, has generated significant excitement and anticipation among audiences and critics alike. The sequel, which is expected to unleash an impressive opening weekend gross of $90 million to $95 million, showcases the enduring popularity of supernatural comedies within contemporary cinema. This resurgence can be attributed to various factors, including nostalgia for the original film, advancements in special effects technology, and a renewed interest in genre-blending narratives that appeal to diverse audiences.
Tim Burton's distinctive directorial style has played a crucial role in shaping the aesthetic of "Beetlejuice," allowing for a seamless blend of horror and humor. The sequel promises to retain the quirky charm that characterized its predecessor while incorporating modern sensibilities that resonate with today's viewers. The return of Michael Keaton as the titular character further amplifies this anticipation; his portrayal remains iconic, embodying both comedic brilliance and unsettling eccentricity.
The only movie to deliver a first day north of $40M, and an opening between $90M-$99M is 2017’s The Fate of the Furious which posted a first day of $45.6M and 3-day of $98.7M.
As solid as last night’s previews were for the Michael Keaton-Jenna Ortega-Winona Ryder-Catherine O’Hara movie, the first night of NFL football with the Kansas City Chiefs win and the whole Taylor Swift appearance of it all certainly kept cash out of Warner coffers, but the anticipation is that ground will be recovered.
The great Catherine O'Hara is also back as Delia, Lydia's wicked stepmother. But the crux of the plot, cooked up by Alfred Gough and Miles Millar, is how Lydia is going to deal with Beetlejuice, who is still angry that the teen Lydia left him at the altar three decades ago. It seems our favorite fiend needs to marry a human to really torture other humans back on Earth.
The result may not reach the first film’s darkly funny heights, but then, to his credit, Burton seems more interested in updating than duplicating his earlier achievement. There is, however, one scene — a lovely choral performance of Harry Belafonte’s calypso classic "Day-O" — that nicely calls back to the first movie’s most memorable moment. It was enough to make me imagine the late, great Belafonte himself hanging out with the various misshapen denizens of this fantasy afterlife — and having, to his surprise as well as mine, a remarkably good time.
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