Tim Burton’s best movie moments

“Beetlejuice Beetlejuice,” the sequel to Tim Burton’s 1988 hit “Beetlejuice,” marks the director’s return to theaters after a five-year absence. I wasn’t a fan of the original film (its use of Harry Belafonte’s music notwithstanding) because it got on my last damn nerve. But I was surprised by how much fun I had watching Michael Keaton return to his most famous pre-Batman character.

Of course, Burton is the reason Michael Keaton was the Caped Crusader in the first place. He directed “Batman,” which turns 35 this year, and 1992′s “Batman Returns,” which teamed Keaton with his “Beetlejuice Beetlejuice” costar Danny DeVito. DeVito played The Penguin, and his father was played by the star of another Burton film, Pee-wee Herman.

I’d never heard of Burton before “Pee-wee’s Big Adventure.” Only a grinch could dislike this sweet, goofy tale of a man (Herman, played by Paul Reubens) and his quest to retrieve his stolen bicycle — which may explain why I gave it a measly ★★½ back in 1985. That’s a mild pan but a pan nonetheless. You’re a mean one, Odie Grinch.

Over the years, I’ve come around on “Pee-wee’s Big Adventure.” It deserves a higher rating than I originally gave it. But since seeing the resurrection of Beetlejuice, I realized my opinions on many of Burton’s films ranged from mild disappointment to outright disdain.

“Sweeney Todd” (2007) is an example of the former, as I thought Stephen Sondheim’s macabre, blood-drenched Broadway musical was a perfect fit for Burton’s similar sensibilities. But the film was drained of the original production’s morbid humor, not to mention it was populated by actors (including Johnny Depp and Helena Bonham Carter) who couldn’t handle the difficult musical score.

And then there’s the message of “Edward Scissorhands” (1990) — if you’re different, you deserve to be isolated from society — which so disgusted me I’ve never watched it again. “Batman Returns,” which I also hated, treads similar ground, though at least it has Michelle Pfeiffer’s Catwoman dressed as if she’d been run over by the S&M sewing machine.

A few of Burton’s movies made it past that hurdle into positive review territory, including “Sleepy Hollow” (1999), “Frankenweenie” (2012), and “Corpse Bride” (2005). And I’ll give credit where credit is due: Burton also produced the joyously naughty 1993 holiday classic “The Nightmare Before Christmas.” (But Henry Selick directed it!)

There’s something else I realized about Burton’s films that I hadn’t considered before: Even in movies I outright hated, I could remember a scene or a moment I wouldn’t mind rewatching.

For example, I could watch Jack Nicholson’s Joker wreaking havoc while dancing to Prince’s “Partyman” in “Batman” on repeat and never get tired of it. If nothing else, Burton’s “Batman” deserves my undying gratitude for that Prince soundtrack. The director also earns my admiration for inspiring Danny Elfman’s often stunning music in his films.

The “Large Marge” sequence in “Pee-wee’s Big Adventure” never ceases to bring me joy (and scare the hell out of me). I’ve watched Christopher Walken’s cameo in “Sleepy Hollow” far more times than I’ve seen the movie.

And Jim Brown’s reunion with Pam Grier after taking on hordes of martians in “Mars Attacks” (1996) made my Blaxploitation-loving heart giddy when I first saw the film in theaters.

For me, Burton is a director of great individual moments, and not-so-great movies.

Well, he does have one great movie: “Ed Wood.” It was number three on my 1994 10-best list, the only time Burton’s gotten four stars from me. It’s gorgeously shot in black and white (by Stefan Czapsky) and features an Oscar-winning performance by Martin Landau as Bela Lugosi.

“Ed Wood” has genuine affection for its characters even as it gently ribs them for having more confidence than talent. It’s the work of a filmmaker who found the perfect balance between loving the weirdos who populate his movies and presenting them as beautifully flawed human beings.

And it doesn’t skimp on the elements fans of the director love — it’s stylish and presents a period-appropriate depiction of the macabre visuals one expects from a Tim Burton movie. It’s a masterpiece worth rewatching in full, again and again.

Now, excuse me while I watch the “Day-O” scene from “Beetlejuice” for the millionth time.

Odie Henderson is the Boston Globe’s film critic.