Reviews
[REVIEW] It’s Showtime: A First-Time-Watch ‘Beetlejuice’ (1988)
Young couple Barbara (Geena Davis) and Adam Maitland (Alec Baldwin) have their staycation cut short when their car crashes into the river and they drown. Nothing will ruin your leisure time like dying horribly. Trapped as ghosts in their own home, they hire an untrustworthy “bio-exorcist” named Betelgeuse (Michael Keaton) to rid them of their house’s newest tenants, the rancid yuppie couple Charles (Jeffrey Jones) and Delia Deetz (Catherine O’Hara), who have brought along Charles’ teenage daughter from a previous marriage, the gloriously goth Lydia (Winona Ryder).

I know it’s bananas that I’ve never seen Beetlejuice before sitting down with the iconic 1988 movie to write this review. However, there is no better time to finally erase that huge sandworm-sized hole in my personal horror canon than Gateway Horror Month here at Horror Press!
For those who, like me, were unaware of the full machinations of the plot until now, here’s a quick breakdown. Young couple Barbara (Geena Davis) and Adam Maitland (Alec Baldwin) have their staycation cut short when their car crashes into the river and they drown. Nothing will ruin your leisure time like dying horribly. Trapped as ghosts in their own home, they hire an untrustworthy “bio-exorcist” named Betelgeuse (Michael Keaton) to rid them of their house’s newest tenants, the rancid yuppie couple Charles (Jeffrey Jones) and Delia Deetz (Catherine O’Hara), who have brought along Charles’ teenage daughter from a previous marriage, the gloriously goth Lydia (Winona Ryder).
Does Beetlejuice Hold Up?
Ultimately, there are two major ways that viewing Beetlejuice for the first time in 2024 can damage the experience. The first is the fact that some of the effects bringing the afterlife to, well, life, just don’t gel with the story being told. Frankly, most of the effects don’t hold up, but that doesn’t really matter most of the time. Combining Tim Burton & Co.’s madcap designs with a chintzy theme park haunted house aesthetic provides an exuberant sensibility that does a lot to smooth over many of the flaws in the execution. However, certain moments – particularly any scenes set in the “limbo” zone ruled by giant sandworms – look too tacky and undernourished to survive much scrutiny.
The second issue, unfortunately, is much more insidious and tougher to integrate with the tone the movie wants to evoke: the title character is rape culture personified. There’s hardly a line, gag, or flick of the eyes from Betelgeuse that isn’t intensely uncomfortable on that level, to the point that I wonder how the upcoming sequel, which will probably scrub that element away in the wake of the #MeToo movement, will have anything left with which to characterize him.
There are certainly ways to approach the character in context that mean you don’t have to write off the movie entirely. It’s a product of its time, depiction does not equal endorsement, etc. Unfortunately, despite Michael Keaton’s committed and energetic performance, the onscreen result is still something that I personally find deeply exhausting. The character is broad and schticky, complete with cartoon noises that go off basically every time he moves. It plays like a latter-era Jim Carrey blended with the fourth-best character from one of those Eddie Murphy movies in which he plays every part. Just like horror, comedy is one of the most subjective genres, but for this particular subject, the sheer amount of flop sweat from an ostensibly comic character turns the movie into a grimly unpleasant slog whenever he’s onscreen.
There is one moment in the movie (where Betelgeuse’s head randomly begins to spin 360 degrees and scream, after which point he asks, “Don’t you hate it when that happens?”) where it clicked, and I finally got the sense of the casually ineffable Gene Wilder Willy Wonka-esque figure he was probably meant to be cutting this whole time. However, nothing after that came even close to matching that one perfect moment. Thankfully, the character is only in fewer than 20 minutes of the movie, but his irritating antics cast a pall over the whole experience, at least for this reviewer.
Is Beetlejuice Good Gateway Horror?
Obviously the Betelgeuse of it all is a huge demerit as far as Beetlejuice being good gateway horror for children to whom you want to deliver important lessons about how to, say, treat women. However, as a horror-comedy in and of itself, the movie delivers solid gateway vibes.
It doesn’t skimp on a certain amount of intensity. I mean, this is a movie that kills off two of its main characters in the first ten minutes and also depicts the aftermath of a variety of grisly deaths. These deaths are presented in such a Tim Burtonified way that the stylization makes them somehow both gentler and more grotesque, which is perfect for gateway horror. It’s like wandering through the aisles of a Halloween store, in the best way possible.
On top of that, the movie is genuinely funny in many ways that don’t even have anything to do with its ookier elements. For instance, there is a hilariously understated scene that doesn’t call attention to itself whatsoever where, quietly in the background, Charles thumbs through a magazine where a subscription card falls into his lap every time he turns a page. There are also huge comic setpieces here too, like the “Day-O” musical number that frankly mystified me, but certainly aims to delight rather than terrify. And obviously, if you get Catherine O’Hara within two miles of any screenplay, you know you’re going to get a memorable comic line reading or twelve.
Should You Watch (Or Rewatch) Beetlejuice?
So, should you watch Beetlejuice? Especially now that the sequel Beetlejuice Beetlejuice is on the horizon? Honestly, yes. I think my response to the movie represents the worst possible reaction any horror fan could have to it, and I still enjoyed it a great deal. So there is a lot of room for people to like it a hell of a lot more than me.
Plus, even setting aside literally everything about the afterlife and Betelgeuse himself, the movie has got miles and miles of effortless, delectable, exquisite style. Never has the real world felt just as dazzling and eye-popping as the realm of the supernatural. Everything Delia wears on her face, head, and body is worth pausing the movie to pore over in detail. Lydia has nearly the same hit rate, and the movie itself reacts to her with sublime reverence, literally having her carried into the frame in her introduction and at one point supplying her with her own in-universe fog machine for a pivotal moment. The house itself is also a glorious bit of design, evoking a childhood fantasy of a small town home, full of knobby bits shooting off into nowhere and architectural structures that simultaneously make no sense and fit in perfectly.
The filmmaking itself is also dazzling and creative, whether you’re getting a fly-on-the-wall perspective that is then revealed to be a literal fly, or seeing the Maitlands digging through a life-sized model cemetery complete with faux grass and particle board. This is a movie that is immaculately designed to within an inch of its life and beyond. And with Tim Burton at the helm, at the height of his powers, it is a scrumptious sight to behold.
I give Beetlejuice (1988) a 6/10.
Reviews
‘The Innkeepers’ (2011) Review: Ti West’s Horror Gem

A little over a year ago, I had the opportunity to catch a new film that reminded me of one of the films that sparked my interest in analyzing films in the first place. Sweet Relief was a fun and well-crafted modern mumblegore film that brought Ti West’s The Innkeepers back into my mind. I first watched The Innkeepers shortly before leaving for college, and I was stunned by how incredibly effective it was. To celebrate Dark Sky Select’s 4K steelbook release of The Innkeepers, I decided to give the film a well-deserved rewatch.
The Innkeepers: A Haunting Ghost Story
The Innkeepers follows Claire (Sara Paxton) and Luke (Pat Healy), the last two employees of The Yankee Pedlar Inn. Claire and Luke find themselves working during the hotel’s last week in operation. They also happen to be amateur ghost hunters. Due to the small number of guests, Claire and Luke have some time to put their ghost hunting tools to good use. As the hunting begins, the terror checks in. Is there more to this ghost story than meets the eye?
Before his flashy slasher trilogy, Ti West’s films had a darker, more personal feel to them. After wowing audiences with his satanic panic masterpiece The House of the Devil, Ti West tackled the true terrors of the supernatural. As much as I adore Ti West, this would be his last film that perfectly balances style and substance. Obviously, the goal of an artist is to grow and transform as a filmmaker, but this feels like West’s last intimate film.
Mumblegore Dialogue: Natural and Grounded
The Innkeepers keeps with the mumblegore-like dialogue West was so great at creating. There’s still that improvisational, but naturalistic, feel to their words. And while the situation becomes extraordinary, the dialogue still feels grounded in reality. Somehow, for a 2011 film, West finds a way to competently direct actors in saying the words “epic” and “failblog”. It’s the exposition of the film that truly sets it apart from others like it. While talking with a child in the lobby, Claire reveals the backstory of Madeline O’Malley and her untimely suicide in the hotel. It’s a small moment that could easily be a throwaway detail to provide the audience with the necessary backstory. But it’s Sara Paxton’s performance that sells the scene.
Speaking of, both Sara Paxton and indie darling Pat Healy absolutely tear it up on screen. Sara Paxton’s performance is reserved and lived in. She carries herself awkwardly, with little self-confidence, but still finds a way to be charming. Indie darling Pat Healy chews up the scenery with his Tintin-like faux hawk and a Red Bull-infused high energy. Not only do they steal their respective scenes alone, but they also play off each other like a fast-paced tennis volley.
Supernatural Horror Done Right
Ti West’s magnum opus handles the supernatural element in a much cleaner, fascinating way than most ghost films. The slow pace highlights the mundanity of working-class life that quickly becomes tense through the creeping terror of Madeline O’Malley and her growing cohorts of terror. There’s a certain unbalanced feel to the film’s three-act structure that lends an air of authenticity to it. Whereas most supernatural films feel the need to do more, The Innkeepers understands that it’s okay to do less. It’s how the scares are delivered that sets this film apart.
If you haven’t seen The Innkeepers, then you’re truly missing out on one of the subgenre’s greatest hits. That being said, I don’t think this film is for everyone. Ti West asks a lot from his audience, and I can understand that some people won’t want to go with him on this ride. It’s talky and demands full attention. But if you’re willing to sit with the film and let it work its magic, you won’t be disappointed.
Reviews
[REVIEW] Fantastic Fest 2025: ‘Primate’ Is the Animal-Attack-Meets-Slasher Movie You Didn’t Know You Needed

If that one scene in Nope (you know the one) wasn’t enough to convince you that owning a chimpanzee is a bad idea, Primate is here to remind you that these animals can literally rip you limb from limb. Directed by Johannes Roberts, who also co-wrote the script with Ernest Riera, the film is scheduled to release in January—and if it wasn’t on your radar before, allow me to firmly add it.
PSA: Primate Proves That Chimps Are Not Pets (But They Are Great Slasher Killers)
Primate begins with a pre-credits scene introducing us to the danger: a vet has been called to check in on a chimp named Ben that isn’t feeling so hot, only to discover the hard way that the super-strong animal has gone rabid. It’s an evocative opening, though it does create a little timeline confusion when we jump back in time a few days to follow Lucy (Johnny Sequoyah) as she returns home to Hawaii to see her family and their unusual pet.
Her late mother, we learn, worked with Ben for years before her death, and he remains a beloved member of the family, able to communicate most basic needs via the use of sign language and a special tablet. Ben is acting a little off, though, so Lucy’s father (Academy Award-winner Troy Kotsur, in a stand-out role) calls in the vet we’ve already seen die before heading out for the night.
Of course, we know that Ben has rabies, so it’s only a matter of time before he goes bananas. In the meantime, Lucy, her sister, and their friends get to living it up while they have the place to themselves. The family owns a gorgeous secluded mansion complete with a cliffside infinity pool, and if you’ve seen The Strangers: Prey at Night, you’ll know Roberts loves a pool. He quickly finds a reason to drive the young people into it and trap them there—but just because chimps can’t swim, that doesn’t mean they’re safe.
Blending Animal Attack Horror with Slasher Thrills in Primate
One of the biggest things going for Primate is its ability to blend classic animal attack horror with slasher elements. The film draws clear inspiration from Cujo, but where the Trentons were largely safe from the beast’s foaming maw (if not the sun) so long as they stayed inside their vehicle, Lucy and friends aren’t so lucky. As the tagline for Primate warns, Ben is “dangerously close to human,” which means he understands how to use tools and constantly finds creative ways to take a swipe at his prey whenever they and the audience let their guard down. The sicker the chimp gets, the more he seems to radiate a savage, all-too-human glee.
At the same time, Roberts and Riera’s script leverages the communication gap between Ben and the family to devastating effect. Ben is so close to being able to tell them what’s wrong before his rabies progresses to the point of no return, but he doesn’t quite have the language. The fact that Lucy’s father is deaf adds an additional layer to the tragedy: we see how expressive the family is able to be through non-verbal communication, yet Ben is still isolated in his misery.
Toward the climax, however, even this form of communication starts to break down as the girls’ screams go unheard. While it feels like there’s more material that could have been wrung from this theme, it’s notable that Ben goes for the mouth more than once during his rampage, including in the film’s most memorable kill. In the end, maybe all communication is meaningless when nature decides to play a cruel prank.
Miguel Torres Umba’s Incredible Performance as Rabid Chimp Ben
This tragic aspect of the story doesn’t dampen the scares or thrills. Movement specialist Miguel Torres Umba, who portrays Ben, initially imbues the chimp with lovable warmth that makes his feverish, trembling intensity all the more frightening as the sickness takes hold. It’s a remarkable performance, one that lulls the audience into a similar state of wishful thinking to Lucy as she repeatedly reaches out to Ben in the hope that some part of the pet she loved is still in there. Primate rewards that desperate desire with brutal bites, bludgeonings, and beyond.
Primate Is a Lean, Mean, Face-Ripping Machine
Animal attack horror movies have trended hard toward sharks in the last decade (a world Roberts is no stranger to, having helmed 47 Meters Down and its sequel). It’s exciting to see a new addition to this subgenre focusing on a lesser-seen aggressor, especially one that doesn’t frame its killer creature as inherently evil, but rather a victim of both a natural blight and human foolishness. Ben should never have been put in the position he’s in—but now he’s here, it’s pulse-poundingly fun to see the damage that 100+ pounds of pure muscle can do when its brain is on fire.
Primate attacks theaters on January 9.