*Contains spoilers
Todd Phillips’ sequel is an empty, overly ambitious and superficial film full of mundane musical numbers that won’t ever freaking end.
Joker: Folie à Deux, the sequel to the 2019 box office smash “Joker” is shockingly boring and a long-stint punishment that you can’t wait to be released from. The overly eager and substantially larger budget film of $200 million, is a huge misstep and a desperate attempt to present itself as some grandiose intellectual film, however it lacks any of the deep thoughtful social commentary of its predecessor.
The overzealous attempt at a sequel is not only painful and pretentious but an empty, overly ambitious and superficial film that tries to display itself as an exemplary indie film. Talk about narcissism. Joker 2 is a mundane empty fluff piece and a pointless distraction full of musical numbers that won’t ever freaking end. So much is wrong this film, but ultimately its musical elements may be the worst part, why does Phillips insist this film is not a musical?
Despite all of the prolonged singing and dancing, Phillips struggles with the idea of “labeling “Joker: Folie à Deux” a musical.” Along with his creative team, Phillips took a risky unusual and well creative approach this time around tip-toeing around the idea pointing towards a movie with “musical influences.” Neither the cast nor crew would definitively dip one way or the other, with even marketing playing coy.
“Most of the music in the movie is really just dialogue,” Phillips says. “It’s just Arthur not having the words to say what he wants to say, so he sings them instead.”
But they aren’t saying anything! The monotonous ballads are forced, overbearing and oddly placed adding zero context to the film. It’s actually quite insulting to musicals, and a complete waste of talent from two Oscar-nominated actors. The musical numbers chosen for the film are not originals and Arthur and Lee’s musical fantasies never actually amount to well anything. Aside from creative set pieces there wasn’t much story to go along with it.
Without a doubt it’s a musical, the expensive and flat “psychological” thriller co-written and directed by Todd Phillips sees the return of the stand-alone elseworlds interpretation of the Prince of Crime. “Joker” (2019) also directed by Phillips was a massive blockbuster success, earning over 11 Oscar nominations and beating the odds with over $1Billion in worldwide ticket sales against a $65 million budget. So a sequel seemed likely to succeed, although Joker was originally conceived as a standalone film.
However, the second film, “Joker: Folie à Deux,” which opens in theaters on Friday, may not have the same success.
Warner Bros. originally intended for Joker to launch DC Black, a line of DC Comics-based films unrelated to the DC Extended Universe (DCEU) franchise with darker and more experimental material, similar to that of the DC Black Label comics publisher.
Loosely based on the beloved DC Comics characters, Joaquin Phoenix reprises his role as the titular character Arthur Fleck/Joker, with Lady Gaga joining as his love interest ‘Lee Quinzel’ aka Harley Quinn. This version of the Joker and Clown Prince of Crime is darker and more disturbing than regular comic book adaptations. Phillips tried to go the Christopher Nolan route, and created a more grounded and darker interpretation more akin to Martin Scorsese’s “Taxi Driver.”
Known for roles as dark, unconventional and eccentric characters, Phoenix won an Academy Award for his role as Arthur Fleck/Joker. Fleck is described as a mentally ill nihilistic criminal with a clown-inspired persona, formerly an impoverished party clown and aspiring stand-up comedian.
While the first film was heavily influenced by and ripped off ‘Taxi Driver’ simply adding paint to his face, it also copy and pasted another Scorsese’ film starring Robert De Niro ‘The King of Comedy.’
For many comic book fans the films give an unnecessary backstory to the villain who is typically shrouded in mystery, which can be part of what makes the character so intriguing and terrifying.
Either way we know that this interpretation is not a comic book accurate Joker, and that is not a valid counter-argument for why the sequel is not a good film. So what went wrong this time?
Take what you want from ‘Joker’ the first film managed to tell a complex story about a broken man and offered deep social commentary that stirred conversations about mental illness, social conditions, masculinity and aggrieved entitlement. ‘Joker’ sparked debates about its controversial depiction of violence and glorifying violent outrage. Viewers argued that it potentially centered on showing sympathy for Fleck and tried to justify his incel behavior, or poorly depicted the rich vs. poor power struggle in Gotham.
However, you cannot base the sequel off the previous films successes. As its own entity the sequel is far less complex or layered and lacks any real substance. At least the first film offered an intriguing thought-provoking twist. The sequel while well-made and worthy praise for its visual style and some cast performances, however adds zero context, offers an incoherent empty narrative, messy characterizations, an unimaginative screenplay and the pointless addition of musical numbers with a clumsy set up that goes nowhere.
Despite being a sequel, Folie à Deux generally focused on rehashing the events of the first film and Flecks culpability in proving he be held criminally liable. It spends most of its time in the courtroom, and at Arkham State Hospital where Fleck is in custody awaiting trial for the series of murders he committed two years earlier. His lawyer Maryanne Stewart (Catherine Keener), plans to argue that Arthur has dissociative identity disorder and that his “Joker” personality is responsible for the crimes. If only the film actually took more time to delve into his psyche and exploring his mental health.
There weren’t any extensive conversations with his psychiatrist or any scenes with medical professionals for that matter. If they really delved into his mind that would have made for a better film with actual discussions and validity to mental health arguments. Instead there are countless irritating musical numbers where the song choices have no ties to the actual situations and it skips around any meaningful themes. The only time we see a medical professional is briefly in the courtroom on defense for just a couple minutes.
We later find out from his neighbor (Beetz), that his smile skit is literally just his mother making fun of him because he’s not funny at all. Fleck built this entire persona on a lie, thats it. There is no Joker and Fleck takes full responsibility. There is no deep rooted conversation about his medical condition. It’s just a simplification of an abusive backstory trying to empathize with the joker when this should never even be a thing. Director Todd Phillips said that while the film would venture further into Fleck’s psyche, he would not become the “Clown Prince of Crime,” as his Joker persona is an unwilling symbol to people who give him the love he always wanted.
At a music therapy session, Arthur meets another patient, Harleen “Lee” Quinzel (Gaga). Lee also expresses her admiration for the Joker’s crimes and personality. They develop an erratic and romantic relationship. Phillips noted how he wanted this version of Harley to be manipulative, amoral and more grounded and drifting away from her more classic mannerisms to fit into this world. However, she is boring, severely underwritten and poorly crafted that it’s such a disservice to the eccentric and sassy superstar.
It’s extremely strange and not entirely credible how she gets citizen access to appear as a spectator. It was later revealed she lied to Arthur about being a patient, checked herself in and is a Psychiatrist herself. Lee being involved in a prison break-out being glanced over and purposely left inconspicuous to the audience also makes no sense.
However, both Gaga and Phoenix clearly put a lot of heart into their characterizations and interactions. They both gave decent performances with what they were given. Phillips didn’t want to make Joker or Lee too funny, or their musical sequences too lavish like the comics, but this may have been a disservice to the musical aspect of the film as Gaga was left completely flat.
Meanwhile, Joaquin’s dexterity comes off obnoxious with his overused demonstrative dance sequence catapulting into egotistical exhibitionism. The only thing I hated more than his obnoxious laugh is his dancing. Ironically, the film is treading on narcissistic sensationalism. The dancing would not stop, the singing would not stop, with literal sighs in the audience every time a new ballad would start, like the judge said “where is this going?”
The funniest moment, which was not meant to be comedic was when Fleck says “I don’t want to sing” and the audience simultaneously says please stop.
Overall: ⅕ Boring, Overly Ambitious and Superficial
Ultimately Joker: Folie à Deux defies expectations but is not remotely thoughtful enough to offer anything of substance to its audience. It will surely find its corner of people who think every film conceals a deep thoughtful message, but anyone who digs deep enough will find an empty fluffy distraction.
While its well-made, and features nice set pieces that actually belong on Broadway, decent cinematography and a visual style reminiscent of 70’s cinema, the pleasant performances aren’t enough for a standing ovation except to leave the theater midway. Joker: Folie à Deux does nothing to start new conversations. It’s dull, it’s overly dramatic when it shouldn’t be and painfully pretentious.
Who was this film made for?
Struggling with his dual identity, failed comedian Arthur Fleck meets the love of his life, Harley Quinn, while incarcerated at Arkham State Hospital.
Release date: October 4, 2024 (USA)
Director: Todd Phillips
Distributed by: Warner Bros., Warner Bros. Pictures
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