About the film (courtesy of Warner Bros.):
Arthur Fleck is institutionalized at Arkham while awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that’s always been inside him.
Joker: Folie à Deux is a film that seems determined to baffle and confound its audience at every turn. It’s a cinematic Frankenstein, stitched together from disparate parts that never quite coalesce into a cohesive whole. Director Todd Phillips throws everything at the screen – prison drama, courtroom thriller, psychological exploration, and, inexplicably, a musical – but the result is a jumbled mess with a razor-thin plot.
Joker: Folie à Deux picks up after Arthur Fleck’s descent into madness and subsequent incarceration. We find him navigating the grim realities of Arkham Asylum, where he encounters Lee Quinzel, played with manic energy by Lady Gaga. Their twisted romance blossoms into a series of bizarre fantasy sequences, complete with elaborate song-and-dance numbers that feel jarringly out of place in the gritty world of the Joker.
The musical interludes are a particular point of contention. While Lady Gaga’s vocal talents are undeniable, Joaquin Phoenix’s attempts at singing are, to put it charitably, less successful. There are moments where he seems to be deliberately straining for a bad performance, which only adds to the film’s overall sense of unease. One can’t help but wonder if a little Milli Vanilli magic might have been a better choice.
The plot itself is a meandering affair, focusing primarily on Arthur’s time in prison and his eventual trial. The courtroom scenes are tedious and predictable, offering little in the way of suspense or intrigue. The film’s 138-minute runtime feels excessively long, with only about 90 minutes of actual substance. The rest is padded out with repetitive dream sequences and musical numbers that seem designed to shock rather than entertain.
Joker: Folie à Deux is a film that seems to revel in its own bleakness. It’s a relentlessly grim and depressing experience, offering little in the way of hope or redemption. The characters are unlikeable, the plot is convoluted, and the musical numbers are simply bizarre. It’s a film that seems determined to alienate its audience, leaving them feeling as confused and disoriented as Arthur Fleck himself.
In the end, Joker: Folie à Deux is a missed opportunity. It had the potential to be a fascinating exploration of madness and obsession, but instead, it devolves into a self-indulgent and incoherent mess. The real joker here is Todd Phillips, who seems to have lost his way in a labyrinth of his own making.
Here are a couple of interesting thoughts/observations that didn’t really fit in comfortably anywhere else in my review. The film’s title, “Folie à Deux,” refers to a shared delusion, and the film explores the relationship between the Joker and Harley Quinn in a unique and disturbing way. The musical numbers may feel familiar in some fashion, depending on your viewing history and tastes. They are reminiscent of classic Hollywood musicals, but with a dark and twisted twist. Don’t you feel more cultured now?
Joker: Folie à Deux is in theaters everywhere Friday, October 4th, with early showtimes Thursday evening.
