怪奇大法师

2024美国奇幻片《怪奇大法师》，又名《阴间大法师2》，全球累计票房4.34亿美元，定级PG-13，豆瓣评分6.6，IMDb评分7.0。

续集低于预期，观感平淡，没啥新意，没啥亮点，没啥意思。

卖情怀，第一部的经典元素全都拿了回来，属于新瓶装旧酒炒冷饭，看来蒂姆·波顿江郎才尽了。

由于第一部诞生于36年前，一毛钱渣特效，所以原本我对续集的期待是加持当今的CG特效、呈现出光怪陆离的奇幻世界，但可惜续集的特效并不突出，特效量也不大，视觉上没有令人眼前一亮。

续集在剧情上与时俱进，出现了自媒体、直播、网红、网络炒作……这些当代时髦的元素。

这样的设计是对的，36年后的续集要吸引当代年轻观众，要知道当代年轻观众完全不是第一部的观众，当代年轻观众第一部时还没出生呢。

结尾是恐怖片结尾经常采用的讲不通结尾，这种结尾不好，明明故事已经讲完了，但是还要生硬地留个和主体剧情不搭的悬念。

第一部中戏份很少、造型很有特色、莫名可爱的缩头怪在续集中戏份大为增加，第一部中只有一个，续集中成了团队。

这让我想到了《神偷奶爸1》中的小黄人，由于在第一部《神偷奶爸》中表现抢眼，后续不仅戏份大增，而且还有了独立电影。

值得一提的是，影片中多次出现地铁场景，多次致敬了迈克尔·杰克逊《战栗》MTV群魔乱舞的场景。

你坐过山车吗？

你知道它没有危险，于是你在慢慢爬坡的时候充满期待，却不用害怕。

你知道自己即将要经历一场愉悦的、刺激的、带着心跳的旅程，哪怕它是虚假的。

蒂姆波顿的很多电影就能带给你这样没有负担的愉悦和刺激。

电影行进到中段，怪奇大法师被前女友追杀，女儿被一个邪恶的鬼魂阴谋设计，外婆神神叨叨被毒蛇咬死，自己被大法师纠缠不清，穿插着头都没有的外公和徒有虚表的警察局局长。

我深刻感觉到一种节日的氛围，大家热热闹闹地依次登场，假装面临着危机，但是我不用感觉到任何紧张感，我只需要端正坐姿，任由导演带领我进入即将来临的狂欢和笑料。

所有人即将在某一个时间和空间交汇相遇，互相欺骗，最后善良战胜欺骗，正义战胜邪恶。

来吧，出发吧。

我做好准备了。

那时候，我深切感觉到一种孩童般的期待，一种类似坐在过山车上缓缓爬坡的期待和欢快。

但是可惜，最后所有的危机的解除都不存在任何逻辑，这让观影体验大打折扣。

我期待的是热闹，并不是弱智。

用歌舞和狂欢来解构危机，绝对不是所谓的好莱坞经典叙事，纯粹的偷懒和无能为力。

综合来说只有三星，作为蒂姆伯顿粉丝加一星。

？

么见看眼人国被能，鬼方西这，导领了来题问么那 ”。

影电的好最界世全到看够能众观国某让。

富丰更型类、元多更别国、务业进引持支励鼓、策政进引影电化优，怀胸的容包放开承秉将们我。

待期的众观和场市影电国某足满能不还量质和量数的片影口进前目“：导领国某。

话笑的中话笑，杀封相变，制限面全片鬼，国某观反。

乐欢稽滑，空行马天，想妙思奇可亦，人吓怖恐必不片鬼，味原汁原作前改不作续，工美术艺型造的通卡搭混特哥，斗互鬼人的笑搞爱可又头厘无，胎怪类另的中片鬼为作，师法大身化再年53隔时，后来归侠蝠蝙年03隔时继uoʇɐǝʞ，归回uoʇɹnq演导，集续片鬼怪搞典经的纪世一之分三隔时。

鬼有能不里片鬼，精成许不后国建国某：话笑国某日每⭐⭐⭐⭐

Title: BeetlejuiceYear: 1988Genre: Comedy, FantasyCountry: USALanguage: EnglishDirector: Tim BurtonScreenwriters: Michael McDowell, Warren SkaarenMusic: Danny ElfmanCinematography: Thomas E. AckermanEditor: Jane KursonCast:Alec BaldwinGeena DavisWinona RyderMichael KeatonCatherine O’HaraJeffrey JonesGlenn ShadixSylvia SidneyRobert GouletAnnie McEnroeDick CavettPatrice MartinezMaree CheathamAdelle LutzSusan KellermannTony CoxRating: 8.1/10

Title: Beetlejuice BeetlejuiceYear: 2024Genre: Comedy, FantasyCountry: USALanguage: English, ItalianDirector: Tim BurtonScreenwriters: Alfred Gough, Miles MillarMusic: Danny ElfmanCinematography: Haris ZambarloukosEditor: Jay PrychidnyCast:Michael KeatonWinona RyderJenna OrtegaCatherine O’HaraJustin TherouxWillem DafoeMonica BellucciArthur ContiSantiago CabreraBurn GormanDanny DeVitoGeorgina BeedleAmy NuttallFilipe CatesSami SlimaneRating: 7.1/10

Welcome to Tim Burton's morbidly captivating netherworld! BEETLEJUICE and its title-duplicated sequel, are two peas in a pod, in spite of the latter belatedly materializes after an uncharacteristically long gap of 36 years.In BEETLEJUICE, a happily married couple Adam and Barbara Maitland (Baldwin and Davis) returns to their hilltop manse as ghosts after perishing in a car accident. After going through the afterlife's red tape (a Lynchian realm of black-and-white checkered slanting floors, peopled with a bevy of wackadoodle recently deceased, however none of which is due to natural causes), they receive the dreadful news via their caseworker (a chain-smoking Sylvia Sidney who cannot suffer newbies gladly, definitely an inspiration for Joey Tribbiani's agent Estelle in FRIENDS) that they are going to be stuck in the house (aka. the limbo) for another 125 years before their souls can move on. After the house is acquired by New York real estate developer Charles Deetz (Jones), Adam and Barbara try unavailingly to scare off his family, but surprisingly establish a close bond with Lydia (Ryder), Charles's teenage daughter, a black-clad ghoul who can see ghosts, while her stepmother Delia (O'Hara), a sculptor of grotesquerie, is busy with remodeling the house into a post-modernist pastiche with the help of her friend, Otho Fenlock (the late Shadix, sashaying through his scenes with a divine look of judgment and implacable annoyance, a pure delight!), an interior designer, who will also moonlight as an inept medium. All that leaves the titular Beetlejuice (Keaton), a self-publicized underworld bio-exorcist, to be invoked to carry on the spooky business. However he is instantly taken by Lydia, who makes a perfect goth bride for him. After a farrago of contretemps, including a seance going awry, accelerated aging in a ghastly fashion and a sandworm (operated as a stop-motion puppet) from another domain, Beetlejuice is subdued, and the Deetzes learn how to co-inhabit with Adam and Barbara in the happy-ever-after coda. BEETLEJUICE BEETLEJUICE takes Delia and Lydia back to the haunted house after Charlies gives up the ghost in a most spectacular egress (shot in an animation sequence and reportedly stems from Burton’s own dreams), together with Astrid (Ortega), Lydia's daughter and Rory (Theroux), Lydia's eager-to-please boyfriend. Adam and Barbara are gone (thanks to a loophole in the system, a throwaway the screenwriters have no patience to elaborate on) and the funeral gathering is usurped by Rory’s unseasonable marriage proposal, yet Lydia acquiesces. Meanwhile Beetlejuice is alert by the resurfacing of his vengeful ex-wife Delores (Bellucci, roving around with a corpse-bride assembled gracefulness, and whose soul doesn’t want to be sucked by her? Just ask the dead janitor played by Danny DeVito!), whom he met in Italy during the Black Plague, and before soon they rubbed each other out. After Astrid is cozened into the underworld on the pretext of meeting her late father Richard (Cabrera) by a parricidal ghost, a desperate Lydia reluctantly invokes Beetlejuice to rescue her daughter. All hell breaks loose on the Halloween night, where living persons entering the dead’s realm and shrink-headed zombies, a team of ghost policemen run amok in the town of the living, not to mention that Beetlejuice hijacks Lydia and Rory's midnight wedding as the new groom with Delores nipping at his heels. It takes another sandworm and Lydia's resolute spurn to bring everything back to normalcy. But rest assured the possibility of another sequel (BEETLEJUICE x3 seems inevitable because that is the invocation!) is teased in the advent of a murderous baby Beetlejuice that is more Chucky than his biological father. In the original film, Beetlejuice is basically a supporting role, but Keaton’s deliriously mental antics and transmogrified outward form (a sort of combination of a maniacal Joker and a striped loony Einstein) are so astounding that Beetlejuice’s every movement and line delivery grabs our attention and stokes our amazement. A creature dumped in a twilight zone, neither fish now fowl, cartoonish but also unremittingly energetic, not shying away from his nympholeptic proclivity, Beetlejuice is a mischievous incubus, and Keaton’s unbridled embrace of absurdity and hilarity is among his best works. And in the sequel, such traits are multiplied and thanks to the outlandish appearance, the age gap does not show. As for Lydia, whose character arc from a suicide-mulling teen to a careworn mother is a letdown. Reducing Lydia to a common woman is, in a way, a betrayal to the original film because that is most likely what is going to happen in reality to a girl like her, but shouldn’t be in Burton’s sky-is-the-limit fantasy world where her alterity shall be fostered rather than homogenized. In the sequel, Lydia’s erstwhile recalcitrant sensitivity and airy solitude have been tamed in the process of time, transformed into something more neutral and banal. Her life seems rudderless and becomes a TV celebrity capitalizing on her psychic faculty isn’t what one might consider a good cause for inspiration, just saying. While Ortega is tasked with a less idiosyncratic version of Wednesday Addams (from the Addams Family’s spin-off TV series WEDNESDAY, which Burton serves as a producer and director) in the sequel, it is O’Hara’s Delia, who sustains Burton’s undiluted eccentricity (besides Keaton of course). A supernal comedienne unburdened by self-consciousness, O’Hara swans through the films like a diva unmasked by any pretension and normal thinking. Her comedic bent stands out exquisitely in the original’s hilarious possession scene to the tunes of Harry Belafonte’s “Day-O (The Banana Boat Song)”, and in the sequel, she adds a soupçon of wisdom to Lydia and Astrid’s strained relationship offhandedly, even her unwitting choice of death is very “Delia”. It is a pity she isn’t the “right one” for Beetlejuice as age has never been just a number in Burton’s creations. Practical special effects are deployed stupendously and Danny Elfman’s lilting and eldritch scores are superbly squared with Burton’s singular vision in both films. The original boasts state-of-the-art perspective shifting shots in the town model and the juxtapositions of two different dimensions. Props are ingeniously constructed and the chthonic ambience is pervaded by neon-green and deathly-blue. It is understandable for Burton to replicate (from the town, the house, the otherworldly desert, up to the sandworm cropping up in the finale), upgrade (the underworld bureau and many a new get-up for the recently deceased) and repurpose (“The Banana Boat Song”is transposed to a mourning song and Richard Harris’“MacArthur Park”is chosen to emulate the former’s success in the climax with bizarre dance moves) many tropes and ideas from its predecessor in the sequel, but is it also too slavish to the original’s innovation? If BEETLEJUICE is an unconventional trailblazer by astonishing and amusing audience with its facetious, demythologizing, sunny-side-up attitude towards the morbid department, BEETLEJUICE x2 barely offers anything new, albeit cleverly drawing on audience’s fond nostalgia and giving a second wind to a director rallying from the nadir of his career owing to its surprisingly spectacular box office proceeds, $435 million and counting (especially after a similar fare HOCUS POCUS 2 is dumped unceremoniously to the streaming platform without a whimper). referential entries: Tim Burton's BATMAN (1989, 7.3/10), EDWARD SCISSORHANDS (1990, 8.9/10), ALICE IN WONDERLAND (2010, 6.1/10), BIG EYES (2014, 5.4/10); Ivan Reitman's GHOSTBUSTERS (1984, 7.3/10); Kenny Ortega's HOCUS POCUS (1993, 6.6/10); Anne Fletcher's HOCUS POCUS 2 (2022, 6.4/10).

由华纳兄弟发行，蒂姆·伯顿执导，迈克尔·基顿、薇诺娜·瑞德、莫妮卡·贝鲁奇、威廉·达福主演的《怪奇大法师》北美票房爆了。

影片在威尼斯电影节非竞赛单元全球首映后，气势如虹的登上了北美票房排行榜榜首。

首周末票房高达1.11亿美元，仅次于华纳2017年发行的R级电影《小丑回魂》（1.23亿），是9月上映影片中票房第二高的。

这个成绩刷新了9月份PG-13级电影上映的票房纪录。

影片在4575家影院开画，是华纳兄弟发行影片中上映范围最广的一次，平均每家影院票房达到24,262万美元，，令人瞩目。

原作《阴间大法师》上映于1988年，但华纳兄弟透露，有24%观众的年龄在25岁以下。

这对《怪奇大法师》来说是一个不错的信号，说明影片吸引了新一代的年轻观众群体，而不仅是看过原版的观众。

票房成功的因素《怪奇大法师》的成功，怀旧要素功不可没。

前作《阴间大法师》1988年票房大卖，拿到7470万美元。

衍生出的百老汇音乐剧获得托尼奖提名，至今仍在巡演。

尽管三十多年过去了，还是有许多观众对原版电影带有深厚的情怀。

同时，续作的口碑虽然没有太好，但也算不上拖后腿。

影片中，温诺娜·瑞德饰演的莉迪亚与迈克尔·基顿饰演的混乱恶魔联手拯救她的女儿阿斯特丽德（珍娜·奥尔特饰演）。

故事虽然没有讲得太清晰，但与原作的混乱气质貌似还挺契合。

喜剧元素中带有对时间流逝的一丝忧伤，结局也出乎意料，为票房推波助澜。

另外，比起近期启用新阵容拍摄的续集或重启电影，比如《龙卷风》或《旺卡》，《怪奇大法师》保留了许多原作中的熟悉面孔。

老演员的回归让老观众倍感亲切，新演员又为新观众带来了观影理由。

特别是珍娜·奥尔特，对年轻观众和拉丁裔观众群体具有很大吸引力。

影片另一个票房大爆的原因，可能是同期电影表现拉胯。

票房榜第二名是上映了7周的《死侍与金刚狼》，从3400家影院获得720万美元。

但影片北美总票房来到了6.14亿美元，全球累计12.87亿，是年度票房榜第2，影史第23。

丹尼斯·奎德主演的传记片《里根》上映第二周，2770家影院获得520万，排在周票房第3，总票房只有1850万。

《异形：夺命舰》和《爱情，到此为止》分别取得390万和370万，位列第4和第5。

同行的低票房给《惊奇大法师》留下了充足的空间。

影片在北美市场，从 4575 块银幕上获得了约 1.1 亿美元的首周末票房，是蒂姆伯顿电影中第二高的开画成绩，仅次于 2010 年《爱丽丝梦游仙境》的 1.161 亿美元。

在国际市场上，影片的开局也相当不错。

在 70 个市场的首映票房约为 1.45 亿美元，为秋季票房季开了个好头。

如果全球票房延续这种票房走势，有望挑战《头脑特工队2》的票房年冠宝座。

电影的质量与争议虽然票房上获得成功，口碑却有一些争议。

烂番茄77%新鲜度和82%爆米花指数，IMDb 7.1分属于中规中矩。

但CinemaScore评分是中等的B+，国内豆瓣只有6.8分，与影片的高票房并不相符。

有人认为，这是蒂姆伯顿近年来最好的电影，是一场穿越死后世界的疯狂的娱乐搞笑之旅。

影片展现了蒂姆伯顿在他职业生涯后期丢失的想象力和幽默感。

但也有人觉得，《怪奇大法师》让人看着压抑，只不过是原作套路的重复，但没有体现出原作的精髓。

行业影响与启示暑期档以平淡收场，《怪奇大法师》却为行业注入了市场期待已久的活力。

这次票房成功证明了，即使在电影市场的淡季，一部好的话题电影仍然能吸引大量观众走入影院。

从电影的制作和发行角度，影片展示了如何打造一部成功的续集。

既要保留原作的核心元素，又要加入新的创意。

再结合有效的宣传和营销，依然能够在多年后唤起观众的热情。

Tim Burton 的电影 依然怪诞 依然疯狂 依然开心但相比第一部 这部的情感链接点主打一个Deetz一家三代人的母女羁绊 拍的却远远不如第一部的Maitland鬼夫妻动人 那对夫妻是全片当时最可爱又最可怜的存在 而这部的情节设计又乏味又乱…… 美术和画面上也许可以回归到当年的感觉 可是有些情感内核它回不来就是回不来情感 这就是我觉得如今的Tim Burton乃至整个好莱坞电影产业最缺乏的东西 讲故事的难度已经越来越大了 尤其对于他这样的名导来讲 人都是有极限的 讲不出比当年更有趣的故事 it is what it is但关键是他本身也不是擅长讲故事的人 他的电影更多是凭借怪诞的画风和设定称奇 故事情节反而是次要的 越无脑越好看越有趣 但最最重要的东西 还是情感 无论是《剪刀手爱德华》还是《查理的巧克力工厂》 观众能找到一个点狠狠共情 这才造就了经典整个电影行业都有这样的一个问题 翻拍不是注定要扑 但是你找不准情感表达上的一个新的合适的落脚点的话 注定要扑 而且注意了 是“新的” 同一个调调不能反复弹 不是说你在同一个情感主题上用更复杂的故事去包装就能work的所以 虽然很多人评价不高 但其实我还挺喜欢《佩小姐的奇幻城堡》的……

好久没看到“星期三”那个怪女孩的身影了，这次的角色依然是灵异系少女，或者说是怪人系也行。

虽然不是主角，但表现依然可圈可点，不知是契合本片风格还是之前的舞蹈出格，此次演出依然有一小段跳舞的表现，标志性的表情和动作……估计是不是已经贴好标签了。

幽默风趣加上音乐元素，本片大概属于喜剧鬼片？

肯定和《鬼屋》不一样吧，虽然剧中提到了原版鬼屋。

本片另外的名字叫做《阴间大法师2》，那么有空去刷下1好了。

剧情大概就是女孩不相信老妈是可以看见鬼魂的通灵师，结果自己落入了别人的圈套被拉下地府，最后老妈舍命营救皆大欢喜，故事简单，主打演员和鬼怪造型吧。

总体来说，本片轻松好玩，只是不太适合下饭配餐。

最近在探索悉尼电影院🎦，本着不浪费周一10刀黄金票价且又没解锁过Palace影院的我，昨天去看的第一场就是Time Burton的新片。

我是在It ends with us的电影广告时间看到的这场，并跟悉尼的朋友说这个预告片很吓人，不敢看，不会有啥我接受不了的元素，吓到我生理难受吧。

有着多年观影经验的i人朋友说不会，它也不是恐怖片，顶多有点惊悚。

在评分范围内也是PG13，小朋友在大人陪伴的情况下可以看。

所以我就在这么多澳洲院线电影里优先选择了它。

刚看完的时候，说实话是失望的，Tim Burton怎么说也是名导演，对他有更高预期，觉得不是他的巅峰时期作品。

但和昨天后面三部看的电影比，却又是最精彩的，判断精彩程度还是是一觉醒来还记不记得有剧情。

昨晚我又浅看了Tim Burton携演员参加威尼斯电影节的访谈，以及他上一部这个作品前传的讲解，觉得这导演还是有初心在的。

三十多年前拍的电影再拍续上，续写故事是难的，他的故事里总有一个新娘，总是哥特式风格，总是古灵精怪的装扮造型，但是有趣。

故事情节也是饱满、不生硬，但我一直觉得大美人也是他最近女友的角色有些多余，这些导演的癖好多多少少是把目前喜欢的人加在自己作品里，多少有点浪漫的情节在？

但演技和有趣度还是他前妻高，就是哈利波特里演杀死小天狼星的贝拉XXX，我一直记不清后面叫啥，或许记英文名更合适些。

总之是推荐去电影院一看的，我把观影感受发到朋友圈后，也有好些朋友说他们在上海电影节看到了这部电影，喜欢。

三十多年后的续作，延续了热闹奇怪的风格。

情节方面节奏欢快，一点也不恐怖，阴阳眼小妹三十年后家庭生活一团糟，继母神叨叨，女儿很叛逆，老公死的巧，新欢一肚子小算盘，葬礼上求婚玩的花啊。

达福叔的警察好像一点能力也没有，阴间治安太可怕了。

演技方面瑞德的妆造太强了，完全看不出五十多，球花确实老了，两大美人迟暮，女儿又像拉丁裔了，一点小丑。

画面方面最让人期待的阴间想象力，令人赞叹，但是与近四十年前的前作进步的空间不大，各种花样的造型，虽说都是他们死时的模样，老公满身食人鱼可以理解为先淹死再被吃，但外公被鲨鱼咬的只剩半个身子难绷，按理咬断瞬间就该死了，另一半也能拼回来才对。

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蒂姆·波顿的《怪奇大法师》在北美上映以来，全球票房破4亿美元，北美票房居年度第四位。

但相比于36年前的第一部《阴间大法师》豆瓣7.7的分数，第二部只有平平无奇的6.5，这一次，蒂姆·波顿的成功得益于渴望情怀和熟悉的哥特风的老粉。

独属于蒂姆·波顿的怪诞元素依然浓度够高，用订书机缝合自己的女魔头、各种离奇死法并维持死状的鬼魂、用黑纱罩住的房子……恐怖喜剧的内核是喜剧，即使血腥喷溅，即使色调黑暗，即使在地狱，却处处洋溢着欢快的气氛。

迈克尔·基顿饰演的怪奇大法师，格调和皮皮鬼有莫名的相似之处，亦正亦邪，沉迷搞怪。

剥离这些元素后，故事的剧情简单且虎头蛇尾，女性力量为故事的主角，关系僵持的一对母女，在阴间阳间穿梭，在怪奇大法师的帮助下击退想要利用她们的男人，重新拥抱了彼此。

相较于《星期三》，故事本身的悬疑性和魅力缺乏了许多。