Tagged Cartoon

Beetlejuice: The Afterlife and Raunchy Ghosts

Beetlejuice. 1988. Directed by Tim Burton. Screenplay by Michael McDowell & Warren Skaaren.
Starring Alec Baldwin, Geena Davis, Michael Keaton, Catherine O’Hara, Jeffrey Jones, Winona Ryder, Annie McEnroe, Glenn Shadix, Patrice Martinez, Sylvia Sidney, Robert Goulet, Dick Cavett, and Susan Kellermann. The Geffen Company. PG. 92 minutes.
Comedy/Fantasy/Horror

★★★★1/2
beetlejuice-posterTim Burton doesn’t always appeal to everyone. His style, as far as I’m concerned, makes him an auteur. Even in his less cartoony, gothic-styled films, there is always an ever present sense of Burton and his unflinching vision of the stories he tells. Most of his movies I do enjoy, though, some I’m not huge on. Either way I can’t help deny my major love for a few of his movies.
One such title is the 1988 fantasy, quasi-horror, full-on comedy Beetlejuice, which later toned down into the 1989-1991 cartoon series of the same name. This is one strange piece of work, at the same time it’s amazingly near perfect in other ways. With a refreshingly innovative take on the afterlife, hauntings, the “life” of ghosts on the other side and tons of fun Burton-like imagery and makeup effects, this is one hell of a fun film. Beetlejuice has a bit of everything: death, suicide, laughs, calypso music and dancing, and Micheal Keaton.
beetlejuice-beetlejuice-the-movie-30941820-1920-1080After a tragic car accident, Adam and Barbara Maitland (Alec Baldwin/Geena Davis) find themselves back at their house… only a little removed from reality. They find a book in their attic – The Handbook for the Recently Deceased – and then eventually discover a way into the waiting room of the afterlife, where a case worker named Juno (Sylvia Sidney) explains they’ve died and are contracted to remain in their old home for many, many years. Tasked with scaring out the new owners – Charles and Delia Deetz (Jeffrey Jones/Catherine O’Hara) along with their young daughter Lydia (Winona Ryder) – Adam and Barbara eventually come across an unethical ghost named Betelgeuse (Michael Keaton) who would much rather kill the new owners than just scare them out. And once Betelgeuse sets his sight on Lydia to be his wife, the newly deceased couple have to decide whether they’re ready to give up their home, or give up the life of an innocent young girl.
tumblr_npbu2xlhfu1uq538fo9_1280So much to enjoy about this slice of Burton work.
One of my favourite sequences of the film happens early on when Adam (Baldwin) and Barbara (Davis) try to scare the new owners, before they’re initiated into the world of being dead. First, Barbara hangs herself in the closet, then rips the skin off her skull when Otho (Shadix) and Delia Deetz (O’Hara) look inside, yet to no avail. Then, Barbara stands – knife in hand – with Adam’s bloody, decapitated head in the other, trying to look sinister. Nothing works! But the kicker is when Adam tries to run up and lock the attic door, with no head, and he’s banging into things, bumping every object nearby. Riot, love it. Awesome few scenes here, especially in terms of makeup effects and horror imagery; the skin off skull bit is nasty and cool.
The waiting room scene is another perfect bit. We see the various dead people sitting around until their name is called: one man is a hunter of sorts, his head shrunken to a prune; another merely charred remains of a man smoking a cigarette; a guy who choked to death, chicken bone still sticking through both sides of his neck; an attendant showing patients in whose body is hung on strings, flattened out from tire tracks; and a man hung by the neck, on the same track as the other attendant, passing files off to a secretary while he’s carted about the office building. What a great and also tragic sequence. This is also part of why I’m so in love with Beetlejuice; because of its unique charm in the face of death.
winona-ryder-beetlejuice-2Lydia: “My whole life is a dark room; one… big… dark… room.
BEETLEJUICEWhat I dig most about Beetlejuice overall is its take on the afterlife. On one hand, you’ve got all the “regular” ghosts who are merely regular people moving onto another plane. On the other hand, there’s Beetlejuice himself. But it’s the little handbook, for the recently deceased, the waiting room, the giant sandworms, and so on, which intrigues me. Such a neatly cartoonish and macabre world for Burton to play around in. At the same time, I find the way it portrays ghosts pretty unique. So underneath all Beetlejuice’s gnarly exterior and vulgarity, beneath the story of a haunting, there’s a genuine attempt here to dissect what a true afterlife might be – instead of the idealized heaven or hell, Burton’s film taps into a more satirical approach to being dead and trying to move on. Plus, seeing things from the side of the deceased doesn’t hurt either. While we’re right alongside the Deetz family, even in the scarier moments after the Juice runs loose, much of our perspective comes from Adam and Barbara, as well as later a similar yet different perspective from the still-living Lydia. All in all, the way this movie presents death and the afterlife is both hilarious and fresh.
vlcsnap-2013-11-14-04h25m48s120 391ccd14f69e49feacc3502aa1857b63 393689There’s plenty of creepy horror stuff going on, but the dark and sometimes raunchy comedy is very much happening here. For instance, even in the morbid scene where Lydia (Ryder) contemplates her suicide writing a note for her family to find later, there’s a downright funny, laugh out loud moment as she rearranges the words, choosing better ones to put in place to make the note sound more appealing. The whole character of Lydia is fun and funny at once. She’s simultaneously deep and gothic while also playfully satirizing the whole goth lifestyle.
When it comes to comedy, though, obviously Michael Keaton as Beetlejuice is the centrepiece of this entire thing. Clearly, right? Even more than you think. For those who don’t remember properly, Beetlejuice is a dirty dude, both physically and in his speech. In the original screenplay, the character was much darker and more violent; he wanted to rape Lydia, here it’s toned down slightly to a creepy crush. But the darkness all around, from his actions to his comedy, is still quite present. Keaton brings Beetlejuice to life from one moment to the next. He’s mostly hilarious, yet always with the chilling side directly under the surface, every now and then coming out into the open fully. Some of my favourite bits are when Beetlejuice is still stuck in the tiny model town, in its cemetery; Keaton did a nice bit of improvisation, if I’m not mistaken, which is awesome because he did a great job with the character.
BeetlejuiceBeetlejuice: “I’m the ghost with the most, babe.

Even with the changes inflicted upon the original screenplay, the toning down, the film’s finale remains pretty dark. Regardless of the cartoon-ish, at times, quality Burton gives the story and its visuals, there are equal amounts of very macabre and eerie sequences. When Beetlejuice is called back into reality by Lydia the final time, in order to try and save Adam/Barbara, the movie turns into a dark carnival. This section starts out in a sort of lighthearted horror-comedy way. Then, slowly, it moves towards treacherous territory, as Beetlejuice attempts to take Lydia as his bride. I mean, it’s sketchy! Very creepy, unsettling stuff. Delia’s sculptures come alive to hold the witnesses in place for their impromptu ceremony, which are super weird and gothic through Burton’s eyes. Just cannot get enough of this effective finale. Also, the very last couple scenes are a whole ton of fun capping things off on a more lighthearted ghost story note.
lbf-bettlejuice-jambeTotally a 4.5 out of 5 star film for me. Always loved this and truly feel it’s an effectively dark comedy using shades of horror in the best way. Plus, it’s a satirical look at the traditional ghost, which makes the comedy work that much better. Combining the eccentric talent of Tim Burton with a couple of great performances, namely Michael Keaton as the titular ghost with the most, Beetlejuice elevates itself from just another comedy to something near legendary.
I’m beyond excited there’s going to, hopefully, be a sequel with Burton, Keaton, and Ryder all supposedly onboard for the ride! With that team, as well as the spirit of the original at heart, I bet a sequel could be almost as spectacular this time around as it was the first. Watch this for Halloween; great to put on any time, but even better around the fall season as the 31st approaches on the calendar.

Turbo Kid: Blood, Nostalgia, Video Games, & a Whole Lot of Fun

Turbo Kid. 2015. Directed/Written by François Simard, Anouk Whissell, & Yoann-Karl Whissell.
Starring Munro Chambers, Laurence Leboeuf, Michael Ironside, Edwin Wright, Aaron Jeffery, and Romano Orzari. Epic Pictures Group/Timpson Films.
Rated R. 93 minutes.
Action/Sci-Fi


★★★★★
new-turbo-kid-poster-unveiled
Always interesting to see the different 1980s (& further) throwbacks coming out now over the past 8 years or so since Grindhouse brought the whole concept back. Ever since Nicolas Winding Refn’s Drive especially, there’s been a want for the retro 80s style soundtracks, or the entire aesthetic. Even before that with stuff like Ti West’s The House of the Devil, film fans have gotten a taste for the homage films being made by directors and writers who grew up watching movies in the 1980s and that’s where they cut their teeth in terms of influence. What’s even cooler is a lot of these retro homages are coming from indie filmmakers, bonafide genre filmmakers, and so it’s exceptionally cool that these are being made outside of the Hollywood system mostly. Furthermore, even with the heavy dose of homage in films like these, the concepts and premises are often innovative and fresh compared to so much of the recycled, rehashed, rebooted, remade material we’re being fed in theatres nowadays.
While some of these movies opting to go for a throwback retro aesthetic don’t actually do a period piece, or particularly set things in the 1970s or 1980s, Turbo Kid is straight out of both the ’80s and ’90s. At the same time, it’s futuristic. Set in 1997, it’s as if things stopped in the 1980s and everyone’s stuck.
Probably what excites me most about Turbo Kid is the fact this is a film spun off from the short segment “T is for Turbo” that was meant to be in The ABCs of Death. Though the segment did not make it into the film, I’m super happy it ended up being made into a film. Now out on iTunes and other VOD platforms, this is a new indie film that deserves much attention. Not simply because of its origins from the horror anthology in which it was hoped to be included, Turbo Kid is also an example of how neat, interesting movies can get made with the support of film fans. Paying a few dollars to see an awesomely original, independent film ought to be a privilege, and this is one of the latest new films that will hopefully remind people how indie filmmakers are still thinking outside of the box, not following all the latest trends to the letter and still thinking for themselves. Because like I said, while this is pure retro homage filmmaking, there’s a highly original quality to Turbo Kid which evokes equal parts hope and nostalgia.
IMG_1849Turbo Kid takes place in the year 1997, in a post-apocalyptic vision of the world. The Kid (Munro Chambers) wanders around in the wasteland, fending for himself, reading salvaged comic books of Turbo Rider. Along the way he meets the chipper, upbeat Apple (Laurence Leboeuf). She attaches herself to him immediately and tags along for the ride. The Kid is reluctant at first, however, he warms to her quickly.
Meanwhile in other parts, an arm wrestler named Frederic (Aaron Jeffery) is also fending for himself across the barren lands plagued by drought and acid rains. He’s trying to find his brother, fighting against a one-eyed man named Zeus (Michael Ironside), Skeletron (Edwin Wright) and a band of other insane henchman. Zeus kills people, feeding them to a contraption built for extracting water from human remains.
After The Kid saves Frederic and Apple from Zeus, captured in his savage fighting arena, the fight and the chase are on. Across the wasteland Apple and The Kid venture, Zeus on the warpath, and there’s no telling what might happen in the unstable post-apocalyptic world amongst the dirt, the blood, and the acid rains.
IMG_1859Naturally one of the greatest parts about Turbo Kid is the incredibly authentic retro ’80s score. With original music from Jean-Philippe Bernier, Jean-Nicolas Leupi, and Le Matos, there’s an incredible part of the aesthetic in this film that’s built up through the music. Particularly during some of the small intense sequences, like when The Kid (Chambers) is pedalling fast as he can away from a villain on his bike, there’s this amazing synth chase piece that blew me away. I expected lots of this, however, to hear it composed so well and fit so perfectly with the scenes and sequences is a damn treat!
The score’s individual pieces are so fitting when it comes to the ’80s homage because we get a bunch of great little montages, typical of that era of filmmaking. So not only is the score awesome, it plays into the film in so many ways I think work directly towards cultivating that super cool throwback feeling. You’d swear this was done back in the ’80s, all around.
My favourite part of the score is during a massive fight involving Frederic and The Kid versus Skeletron and the rest of Zeus’ henchman crew. It’s just PUMPING the whole time and it makes you want to kick some ass. Coupled with the incredible practical effects, all the blood and gore we’re treated to, the music makes this section full of adrenaline and a hell of a lot of fun to watch.
IMG_1851The apocalyptic angle of the film comes off really well. Particularly I love their use of locations and the sets; not sure how much of this is on location and how much, if any, was done on a set/soundstage. Either way, the post-apocalyptic feeling comes across excellently simply through virtue of how they use their locations. We get the post-apocalyptic settings and sense from everything together, as well as the very palpable sense on top of all that of when the apocalypse happened through the ’80s costuming.
Not only is there a science fiction-ish aspect to Turbo Kid with the apocalypse’s destruction of civilization, this movie has BUCKETS OF BLOOD and PLENTY OF GORE. I thought there’d definitely be a fair share, but man was I pleasantly surprised! Not only that, the practical special makeup effects were out of this world. Just absolutely something to behold. The gory moments get even better once The Kid discovers the Turbo Rider’s gear in a crashed plane; he picks up the glove and begins to blast away at the villains threatening him and his friend Apple.
IMG_1854 IMG_1856Inarguably, one of the best gory scenes is when a friend of The Kid, Bagu (Romano Orzari), is captured by Skeletron and Zeus. They tie a hook into his guts, which are ripped slightly out of his abdomen, attached to a bicycle then Skeletron proceeds to pedal hard and haul a big string of intestine out. It’s an awesome practical effect that’s pretty savage and awesomely gnarly. Hard to say the ULTIMATE BEST, because there are just so many unreal gory, bloodletting moments.
We get a bunch of real awesome bloody shots when The Kid blasts people with the Turbo Rider glove. It’s so video game-like that I can’t help love it. Even the glove itself sort of reminds me of the Nintendo Power Glove, as well as how Apple’s little heart monitor is pretty much (wonderfully) torn out of The Legend of Zelda. But the head shots and the torso blow-ups from the glove look perfectly like something you’d see in a video game, it adds tons of flavour to the retro ’80s feeling. Brings me right back to childhood.
IMG_1850 IMG_1853 IMG_1857Almost all the performances in this movie are spot on. Incredible talent, especially in the younger actors.
Munro Chambers plays The Kid and I found him both charming and funny. He’s got a likeable quality to him instantly, but seeing him rock out to a Walkman and painting his helmet, just hopping about the post-apocalyptic wasteland, it’s a lot of fun. The charm he brings to the role of The Kid helps because there are moments in the script which are purposely cheesy, and he sells these scenes and little brief bits. The performance he gives is awesome. The best thing, though? He actually seems to be having a ton of fun, while still playing his character.
I’ve loved Laurence Leboeuf ever since her turn on the wickedly dark Canadian show, alongside Hugh Dillon playing her father, Durham County. Here she is quite different than that character, which is fun to see. She has a lot of range. Here, Leboeuf plays a beyond quirky, hyper young lady named Apple who turns out to be a synthetic human being, or a robot; whatever you prefer. I cannot count how many times she made me laugh out loud, over and over. There’s energy in her performance unparalleled in this film, maybe unparalleled in most of the roles out of 2015. Honestly, she’s a joy to watch here, as a character who is slightly familiar but plenty innovative. Well cast in this role, there’s no doubt about it, and Lebouef – like Chambers – seems to revel in a chance to do something different, fun, and a bit wild.
Along the edges there’s Aaron Jeffery, whose character Frederic is the typical badass yet with his own square jawed charm and intensity, on top of a rough machismo so familiar from the films of the 1980s. Plus, legendary actor Michael Ironside shows up here as the villainous Zeus, controlling the water sources amongst the desert-like lands of the post-apocalyptic landscape; as usual, Ironside gives a solid performance with the right material and this is one sci-fi/horror I hope he’ll be known for in these later portions of his career. Even the eternally silent Edwin Wright as Skeletron does a fantastic job with a fun, video game/cartoon-ish character who is also a solidly creepy villain alongside Ironside’s Zeus.
IMG_1852 IMG_1858This is a 5 star film. I know some may roll their eyes, but whatever. Fuck those eye rollers. This is an incredibly retro 1980s throwback, which is not simply full of homage and an attempt at capturing a nostalgic feel but a very fun, innovative movie in its own right. Part of what works in its favour is absolutely nostalgia. However, this is not all that works for it. The performances are worth a good deal of enjoyment, the blood and gore are ABSOLUTELY PERFECT with the practical effects to make everything worthwhile, and the original music for the score is something I can’t truly describe that’s how much I love it to the core.
So PAY for this because it is one amazing example of how the dreams of filmmakers can come alive when a bunch of people work towards a collective and unique vision; there’s so much effort behind every bit of this film, I was impressed. Watch it and support indie film. Maybe you won’t love it as much as I did, but I guarantee you’ll walk away with at least some degree of respect for how well all its retro elements work together to make an outstanding homage to a simpler time in filmmaking, as well as it makes for a super enjoyable to spend 90 odd minutes. Kudos to the filmmakers for giving it their best effort and pulling out ALL the stops.
Check it out – available on iTunes (not sure if it’s out on VOD anywhere else yet) – and tell me what YOU think! I dig it so hard that it’s not even sensible. You may or may not. Either way, I’d love to hear your opinion, too.