The latest installment of “Beetlejuice” is a pale reflection of its original.

Michael Keaton’s mischievous ghost captured the imagination of audiences 36 years ago, delivering a wild mix of horror and comedy under Tim Burton’s visionary direction. The 1988 film was groundbreaking, introducing a unique blend of scares that delighted a whole generation. The new sequel, “Beetlejuice Beetlejuice” (★★½ out of four; rated PG-13; hitting theaters Friday), has its moments of charm and fun—mostly powered by Keaton’s quirky character. However, it suffers from an overloaded narrative and fails to recapture the eccentric magic of the original.

While the film is inconsistent, it shows that Burton is back to his creative spooky style. He cleverly weaves threads between the two films: for instance, Harry Belafonte’s “Day-O” famously featured in the first film, while “MacArthur Park” takes the spotlight here. Additionally, Winona Ryder, who portrayed Lydia Deetz in the first, passes the Gothic torch to Jenna Ortega as Astrid, her rebellious daughter.

The plot of “Beetlejuice Beetlejuice” largely revolves around the strained relationship between Lydia and her daughter Astrid. Lydia, now a renowned TV psychic, still experiences odd visions of Beetlejuice, who once tried to wed her. However, she struggles emotionally, just as Astrid, a boarding-school student concerned about the environment, dismisses her mother’s psychic talents. The crux of their tension stems from Lydia being unable to see the ghost of Astrid’s deceased father.

A family tragedy pulls them back together in Winter River, their old hometown in Connecticut. They also reconnect with Lydia’s quirky stepmother Delia (Catherine O’Hara). Notably, the detailed model of the village that Beetlejuice once frequented still sits in their attic. As events unfold, a desperate Lydia summons Beetlejuice once more when Astrid becomes trapped in the Afterlife.

Beetlejuice himself faces challenges as well. Although he has a mundane desk job in the Afterlife, he is being pursued by his ex-wife Delores (Monica Bellucci), the head of a death cult with a dismembered body. Keaton’s character, although less threatening than before, still delivers a unique blend of slapstick humor and witty lines. While he’s been acclaimed for his role as Batman, Beetlejuice remains Keaton’s standout performance.

Justin Theroux plays Lydia’s clueless manager/lover Rory, while Willem Dafoe brings energy as Wolf Jackson, a former action star turned Afterlife cop. Yet, the film is cluttered with subplots, even giving screen time to Beetlejuice’s sidekick, Bob.

In contrast to the original’s straightforward storyline of a deceased couple trying to rid their home of annoying humans, this movie’s complexity falls flat. While original stars Geena Davis and Alec Baldwin are spoken of, they don’t return. Moreover, Jeffrey Jones’ character has creatively been incorporated, with a nod to Jones’ current legal troubles.

Burton has elaborated on the surreal Afterlife setting, filled with a checkerboard design and sandworms, even featuring a lively soul train. There’s also an inventive black-and-white segment influenced by Italian horror, illustrating Burton’s unique style.

Ultimately, Ryder and Ortega’s performances are essential for keeping “Beetlejuice Beetlejuice” on course. Astrid’s journey towards understanding her mother, along with Delia reminding Lydia of her roots, add heart to the film. However, this eagerly awaited sequel lacks the execution that made “Top Gun: Maverick” a success.

After such a lengthy absence, finding a method to blend the new with the familiar is essential.

Although the Afterlife is undeniably an intriguing destination, it would have been nice for Burton and his team to resurrect the iconic “ghost with the most” for a more compelling story. However, if this “Beetlejuice” encourages a few young fans of Ortega’s “Wednesday” to explore more horror, then perhaps it serves a purpose.