Joker: Folie à Deux Review – A Dark Musical Misfire
In a highly anticipated follow-up to the 2019 blockbuster, Todd Phillips presents Joker: Folie à Deux, starring Joaquin Phoenix reprising his infamous role as Arthur Fleck alongside Lady Gaga as Harleen Quinzel. The film has made a splash, but the reception? Not quite as enthusiastic.
Phillips understandably insists it’s not a musical, describing the soundtrack as merely dialogue where Arthur expresses unuttered thoughts through song. One might wonder if he’s being coy or if he’s genuinely misjudging the film’s essence. With twelve musical numbers—including one original song that fails to light a spark—it becomes undeniable: this is a musical, albeit a grim one.
The film opens with a visually striking nod to classic Looney Tunes through a Joker-themed cartoon titled “Me and My Shadow.” However, the colorful introduction quickly dissipates into the shadows of Arkham Asylum, where Arthur has become a notorious figure after committing heinous acts. Here, he meets Harleen, a fan who confesses to being institutionalized for setting her parents’ building ablaze. Their instant romance, bathed in the dreamlike logic typical of musicals, sets the stage for an exploration of their peculiar relationship.
As Arthur prepares to defend himself against a death penalty pursuit instigated by the ambitious District Attorney Harvey Dent, the narrative grows increasingly murky. The film’s musical numbers veer from simple ensembles to elaborate performances. While Lady Gaga shines with her vocal prowess, Phoenix’s vocals as Fleck often lean toward the somber, creating a disjunction that can feel cumbersome, especially when paired with Gaga’s enthusiastic presence.
Among the notable choices in the film’s array of musical selections, the inclusion of a cover of Daniel Johnston’s haunting “True Love Will Find You in the End” stands out as questionable at best, considering the context. It’s a baffling decision that ties mental illness to twisted romance within a film that offers little in terms of nuance or sensitivity. Gaga’s portrayal of Harley Quinn feels one-dimensional, her character reduced to a mere echo of Arthur’s obsession, devoid of the depth that has made her iconic in other adaptations.
As the story unfolds, Arthur reluctantly embraces his Joker persona, leading to a raucous courtroom performance that mirrors the chaos of a circus. However, this potential electrifying moment feels undermined by an overall lack of development for both him and the narrative. The film trails behind its predecessor in terms of character evolution, falling into a formulaic structure that leans heavily on borrowed ideas rather than originality.
The climax arrives laden with clichés, evoking the well-worn Paggliacci joke so famously referenced in pop culture. Phillips’s tendency to draw from superior works leaves viewers questioning why he hesitates to fully embrace the film’s musical identity. The missed opportunity for a vibrant, colorful spectacle results in a production that struggles to rise above the grim standard set by the original.
Ultimately, Joker: Folie à Deux may promise some entertainment—largely due to its nostalgic song selection—but lacks the ambition and creativity required to make a memorable impact. It’s a film that aims for depth but often settles for mere showmanship, failing to resonate with the gravitas its source material could have inspired. Thus, we are left with a product that showcases flickers of talent amid an underwhelming experience, emblematic of Phillips’s reluctance to break new ground.
This sequel aims high but lands with a thud, inviting viewers to reconsider the expectations set by its predecessor. If anything, it underscores the need for more than just familiar tunes in a world where deeper narratives and innovative storytelling are sorely needed.