Tim Burton’s Beetlejuice probably doesn’t spring immediately to mind as a prime candidate for a 4K/HDR remaster. That’s not to say anything about the quality of the film itself, of course. In fact, I would rank it as the second-best “goth” film of all time (right after Hal Ashby’s Harold and Maude, of course). It’s just never been a film that made for decent home theater demo material. The DVD release looked like a skit performed for public-access TV, and the Blu-ray—while a huge improvement—was still a blown-out, garish, overly saturated mess of a thing that could be categorized as “watchable” at best.
That kind of thing sticks with you. For the past 32 years, the home video presentation of Beetlejuice has left a lasting impression in the mind of viewers of how this quirky and adorably dark film is supposed to look. My only hope here is that
enough people give the UHD/HDR release enough attention to undo some of the damage done by previous home video efforts.
To be frank, you don’t really notice the advantages of the new HDR color grade at first. And I suspect that’s because the opening credits sequence—with its sweeping overhead view of the village of Winter River, CT, which morphs into a model thereof—seems to have been taken from a print, not the original film negative. So while you immediately get a sense of the enhanced resolution of this new restoration, the color palette is still a little limited and the overall quality of the image is ever-so-slightly dupe-y.
As soon as the last title fades away, though, we quite obviously move to a scan of the original negative, and from here on out the image takes on all the qualities of beautifully restored (or perhaps lovingly preserved) 35mm film.
Maybe the most startling thing about this new presentation is how nuanced the colors are. Gone are the ridiculously
BEETLEJUICE AT A GLANCE
This 4K transfer of Tim Burton’s surprisingly affirmative romp through goth darkness shows what a boon HDR can be for ’80s films—when it’s done right.
This 4K HDR version avoids the garishness of, and restores a lot of the detail missing from, earlier home video incarnations.
The tastefully done Dolby Atmos mix results in audio that sounds better than the original soundtrack sounded on the mixing stage, enhancing the clarity of the dialogue and giving Danny Elfman’s score plenty of room to breathe.
ruddy skin tones and the Hulk-Smash green of the foliage (both outdoors and in the scale model of Winter River that dominates the plot of the film). Yes, as the lovely Geena Davis and a surprisingly sufferable Alec Baldwin make their trek into the idyllic little town toward the beginning of the film, the image is still peppered with vibrant primary hues—the sign on the hardware store, the covered bridge where Davis and Baldwin’s characters lose their lives—but because of the wider color gamut of HDR10, the saturation of the overall image doesn’t have to be cranked to 11 to allow for such vivid chromaticity when and where it’s appropriate.
The second thing you notice is that there’s just so much detail in the image that has been lost in previous home video transfers, and not wholly as a function of resolution. Take the short scene in which the pushy real-estate agent played by Annie McEnroe surprises Baldwin’s character at the window in a desperate push to talk him out of his home. Even on Blu-ray, the scenery behind her is a white-hot blur, devoid of depth or detail. And that makes sense, given the 8-bit limitations of HD video. The choice had to be made whether to overexpose the world outside that window or underexpose the interior and risk
losing Baldwin in the shadows.
In this new 10-bit transfer, both interior and exterior are perfectly exposed. Baldwin exists in the shadows, yes, but doesn’t get lost in them, while the depth and detail of the foliage behind McEnroe still shines through.
That’s one scene out of dozens I could point to in
extolling the virtues of this new UHD/HDR restoration and its ability to breathe life into this tale of the dead. Other details that come to mind are the imperfections of Winona Ryder’s teenaged complexion and the fine filigree lace of Davis’s bridal gown, both of which are resolved beautifully. The film grain is also perfectly organic throughout—not too noisy, not too overbearing, but never artificially smoothed over.
But perhaps my favorite thing about this new transfer is the way it handles the scenes in the bureaucratic Neitherworld, which have always been the worst-looking aspect of the film’s home video releases. Here, the HDR gets to flex its muscles with no concern for lifelike skin tones or believable greenery. Simply put, these sequences now glow and iridize like a fluorescent
blacklight poster, which is how they’ve always looked in my memory of seeing the film far too many times to count on the big screen in the spring of ’88.
The sound on the other hand? I think it’s safe to say Beetlejuice didn’t sound as good on the mixing stage as it does here. Aside from a few cute and subtle exceptions, the new Dolby Atmos remix doesn’t get too carried away with repositioning sound elements or making the film sound like a modern blockbuster, mind you. And thank goodness it doesn’t include any re-recorded sound effects, as does the travesty of a remix included with the new 4K/HDR remaster of Hitchcock’s Psycho. The mix mostly serves to simply give more space to Danny Elfman’s delicious score and the wonderfully uplifting Harry Belafonte soundtrack. But it’s also apparent that there’s also been some equalization done to the audio. There’s an enhanced richness and fidelity I don’t recall ever hearing before, and dialogue clarity is among the best of any home video release. Like, ever.
There’s nothing much by way of extras here, aside from three episodes of the Beetlejuice Saturday-morning cartoon that ran from 1989 to 1991. These haven’t been restored and are horribly compressed, so they likely aren’t worth your time. The Kaleidescape download, unlike the recent UHD Blu-ray release, also includes an isolated music track—that is to say, a version of the film devoid of dialogue or
sound effects. But it’s unfortunately married to the pan & scan standard-definition transfer of the film, so its value is debatable at best.
But don’t let the lack of supplemental goodies bum you out. Beetlejuice is one of the worthiest UHD/HDR remasters I’ve seen to date (almost on par with The Wizard of Oz), and the film itself is such a joyous (and ironic) celebration of life that it stands on its own.
Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound American Staffordshire
Terrier who thinks he’s a Pomeranian.