While Joker: Folie À Deux won’t be to everyone’s tastes, the film defies convention and thinks outside the box to deliver a truly unique cinematic experience.
The discussion about whether Todd Phillips’ Joker needed a sequel in the DC universe has been ongoing. The film was a huge success, offering viewers a compelling character study of one of DC’s most iconic supervillains. But with the film reaching its definitive conclusion, many fans felt that further exploring Arthus Fleck’s world would be detrimental to the film’s quality. However, feeling that there is another story waiting to be told and another bumper box office gate waiting to be enjoyed, Todd Phillips, Warner Bros, and DC Studios are back with Joker: Folie À Deux.
With Joaquin Phoenix reprising his role as Arthur Fleck/Joker and most of the original production crew returning to maintain the same tone as the first film, this sequel has all the makings of another instant classic. Add global megastar Lady Gaga as Harley Quinn into the mix, and the film has a real shot at breaking the mold and winning over any skeptics. But does this epic collaboration truly create a winning formula, or is Joker: Folie À Deux pushing the boundaries too far for this corner of the DC Universe?
REVIEW
Sadly, despite its effortless quality, Joker: Folie À Deux is a disappointment. In this film, Todd Phillips’ vision ultimately falls short, delivering a sequel that fails to live up to the original film’s success. Lady Gaga brings fresh energy, but her scenes all feel like a platform for her next performance, and they arrive in quick succession. The musical numbers are lively and catchy, and the romance between Arthur and Lee (Harley Quinn) is captivating. Yet, ultimately, they aren’t enough to elevate the film beyond the sum of its parts. Ultimately, it amounts to a bold, audacious musical exploration of madness that decimates everything that made the first film a triumph.
Sure, Joaquin Phoenix delivers another winning performance as Arthur Fleck and Lady Gaga dazzles in every scene that she’s in, but sadly, it isn’t enough to save the film from hitting the rocks.
COURTROOM DRAMA
The film is confined to two locations for the most part, with the bulk of the story taking place within the walls of Arkham State Hospital. When we are reunited with Arthur, the chaos of the original film’s final scene is banished, and Fleck is resigned to his incarceration. In the sequel, Fleck is far from the charismatic supervillain, as seen in the finale of its predecessor. He is frequently drugged to keep the Joker at bay while awaiting his court date. His lawyer, Maryanne Stewart, is his only natural ally and has set up an insanity defense, claiming that the existence of Joker is a result of dual personality disorder. The district attorney’s office disputes this, and the backdrop of the opening moments is dedicated to Fleck’s competency to stand trial.
Over time, Fleck befriends Jackie Sullivan, one of the guards at Arkham. Thanks to some good behavior, Sulliivan enrolls Fleck in a musical therapy group designed as an outlet for troubled souls. It is here that Fleck meets fellow patient Lee Quinn (Gaga), who reveals she was committed after burning down her parents’ apartment. Within seconds, Fleck finds a kindred spirit in Quinn, and their instant connection brings about the first of many impromptu musical numbers, and from there, Todd Phillips never looks back. Maybe he should have.
HIT THE MUSIC
The decision to turn the film into a musical was daring and artistic, and at times, it worked. The movie’s promotion implied another deep dive into Arthus Fleck’s mind, much like the first film, but with a musical twist. Bizarrely, that couldn’t be further from the truth. Let’s be clear: Joker: Folie À Deux is a musical in a traditional sense, but the musical elements mainly appear in daydreams and fantasies. Usually, this bold creative move would result in pure, unadulterated cinema, but it’s a divisive move in the DC Universe.
The introduction of this Elseworlds version of Harley Quinn serves as a platform for Lady Gaga to truly shine. Her commanding musical performance is so powerful that, at times, you might think the film should have been called “Harley Quinn.” It’s understandable that Phillips would fully utilize Lady Gaga’s talents, but sadly, after a while, Harley Quinn overshadows the Joker in his own movie. Not that any fault lies with Lady Gaga. Here, she takes on the character Paul Dini and Bruce Timm created with zeal and relishes bringing this version of her to life.
HARLEY QUINN
In truth, she makes the perfect foil for Phoenix’s Joker. Their rapport swiftly becomes the film’s backbone, with Quinn urging him to entirely embrace his clown prince of crime alter ego. But with his defense attorney using his dual personality disorder as a defense against prosecution and claiming that Joker is now suppressed by his medication, it brings his true persona into the light. After embracing the Joker full bore in the first film’s finale, it seems bizarre to begin to unravel his existence so soon. But it serves to bring the duality of his persona into the light.
Like his legions of followers, Lee Quinn is besotted with the Joker. On the other hand, the justice system only recognizes Arthur Fleck and his heinous crimes. But which persona is genuine? Is Joker a fabrication of Flecks’s mind, or is the Joker his true self, now liberated from years of suppression?
THE CLOWN PRINCE OF CRIME
The answer is far more clean-cut than anyone could imagine, but I won’t be delving into that here. That little revelation is yours to enjoy in the theater. But as the narrative pivots to Arthur Fleck’s trial, the true complexities of his persona come to the fore in all their glory, with Quinn pulling the strings. From here, the film focuses on the two worlds. Within the confines of Arkham, Fleck is just Arthur, the depressed psychopath who has finally found love but is at the mercy of the heavy-handed guards charged with his incarceration. However, during his trial, he sports his makeup and embraces the spirit of the Joker, performing for the masses.
In truth, aside from his musical daydreams, this is the only time we get to see the Joker in full force. Once he is free, we bask in Phoenix’s outstanding performance. Like the first film, the nuances of his performance are delectable and deliver some genuinely awe-inspiring moments. Once again, Phoenix drags us down the rabbit hole and allows us to explore Fleck’s complexities., all the while waiting for the facade to slip and for the glimmer of Joker to emerge.
GRACEFUL GAGA
Lady Gaga’s subtle yet powerful portrayal of Harley Quinn perfectly complements Phoenix’s performance. Like the clown prince of crime, her character is complex, with motives and intentions that keep you guessing, making for captivating entertainment. Although Lee Quinn’s character calls for a restrained musical role, Lady Gaga brings her to life, using the musical numbers as her platform. All too soon, the songs slip into Gaga gear and become pseudo-music videos. These dazzle initially, but they quickly lose their charm after the first few salvos.
The constant musical interludes will divide opinions; some viewers will love them, while others will hate them. Unfortunately, what started as an intriguing and compelling narrative twist quickly turned into a stage for Gaga to shine and steal the show. Even when Joker gets involved in the musical process, he always plays second fiddle with Gaga claiming the spotlight. After a while, the film feels like an extended music video with a few scenes from the DC Universe thrown in for good measure. It doesn’t detract from Gaga’s exceptional performance, but it does taint the film’s longevity.
SUPPORTING CAST
The supporting cast in the film also does a commendable job. There are only three major players for most of the film, with the rest of the cast in minor roles. Alongside Joker and Harley, the character of Jackie Sullivan, portrayed by the unwavering Brendan Gleeson, plays a significant role. Like Quinn, it’s hard to discern which side Sullivan is on. At times, he appears to be fond of Arthur Fleck, while at others, he ridicules his existence. This perfectly mirrors Arthur’s character, showcasing both sides of his persona. Gleeson effortlessly adapts to the DC Universe and delivers a captivating performance highlighting his talents. Like Gaga and Phoenix, Gleeson’s performance is one of the film’s strengths.
VERDICT
While Joker: Folie À Deux won’t be to everyone’s tastes, the film defies convention and thinks outside the box to deliver a truly unique cinematic experience. Unfortunately, not every member of the audience will be satisfied, which could negatively impact its box office success. The excessive use of Gaga’s musical numbers overshadows Hildur Guðnadóttir’s outstanding score for much of the film, which is a shame. The courtroom scenes often mention New York instead of Gotham, and the ending might leave many feeling disappointed. However, the final moments will undoubtedly leave a lasting impression, causing viewers to contemplate its implications long after they leave the theater.
Ultimately, the collaboration between Todd Phillips, Lady Gaga, and Joaquin Phoenix has delivered a polarizing sequel you’ll either love or hate. It may not send in the clowns or give us the sequel we hoped for, but does the Joker get the last laugh? You be the judge.
Joker: Folie À Deux sends in the clowns on October 4th
Meet Phil Roberts! He’s the dedicated owner, daily content manager, and editor-in-chief of The Future of the Force. Phil is a budding novelist who turned his passion toward writing about the franchises he loves back in 2016. He’s a huge fan of all things Star Wars, Batman, DC, Marvel, Star Trek, Indiana Jones, Ghostbusters, King Kong, and the Ray Harryhausen movies. Phil is a BFI-accredited journalist and a distinguished member of the Film Critics Association UK.
If he’s not catching a movie at the cinema, you can bet he’s streaming something just as awesome!
