WHEN Todd Phillips’ Joker (2019) hit cinemas, it was a dark, gritty and emotionally charged character study that stunned audiences and critics alike. Naturally, anticipation was high for the sequel, Joker: Folie à Deux.
Joaquin Phoenix returns as Arthur Fleck, now fully transformed into the nihilistic Joker and this time, he is joined by Lady Gaga as Harley Quinn. However, what seemed like a promising return to the twisted mind of Fleck is instead a bewildering musical experiment gone wrong.
Puzzling departure
The original Joker was praised for its raw portrayal of mental illness, social decay and the inner workings of Fleck’s fragile psyche. But with Folie à Deux, Phillips and his team chose to explore Arthur’s further descent into madness with... musical numbers.
Yes, that is right. Between the serious themes of love, violence and madness, the film awkwardly veers into song, often at the most inopportune moments.
While Phoenix does his best to sell the musical interludes, it is impossible to escape the fact that they just do not fit. The tone shifts so dramatically between grim, violent psychological thriller and off-key musical theatre that viewers may find themselves wondering if they accidentally walked into a Glee Halloween special.
The songs are more distracting than effective, undercutting the tension and turning what could have been emotional moments into unintentionally comedic ones.
Minimum chemistry
Gaga’s casting as Quinn had many excited to see what the pop star and Oscar-winning actress could bring to the role. However, the film does her a few favours. This version of Harley is a more grounded, manipulative and amoral character, but rather than making her compelling, the character feels flat and uninspired.
Gaga does her best, but the script gives her little to work with and her romance with Phoenix’s Joker feels more like an afterthought than the central driving force it should be.
Instead of the chaotic, fiery romance that fans of the Joker-Harley dynamic have come to expect, the relationship is depicted as more of a dull, drawn-out obsession. Their love feels hollow, devoid of the dangerous chemistry that should be at the core of their twisted bond.
Gaga’s talents are under-utilised and her character never fully comes to life as either a thrilling romantic partner or a dangerous villain in her own right.
Tonally dissonant
At its heart, Joker: Folie à Deux seems to want to convey deep, serious messages about identity, madness and love. Arthur’s struggle with his Joker persona and his attempt to connect with Harley in their shared chaos could have been compelling.
Yet, every time the film builds towards a poignant moment, it is shattered by a jarring musical number or a scene so tonally dissonant that the message is entirely lost.
The film’s commentary on mental illness and institutionalisation, which was central to the first Joker, is present but poorly handled. Arthur’s interactions with the staff and patients at Arkham and his attempts to reconcile his dual identity are interesting, but they never reach the emotional heights of the first film.
Instead, these important narrative threads are overshadowed by clunky “choreography” and poorly timed songs, leaving the audience to wonder what exactly the filmmakers were trying to say.
Visually stunning
If there is one thing Joker: Folie à Deux gets right, it is the visual presentation. The cinematography by Lawrence Sher and the production design are both top-notch, capturing the grim, decaying beauty of Gotham and the claustrophobic atmosphere of Arkham Asylum.
The muted colour palette and hauntingly desolate settings reflect Arthur’s fractured state of mind and the film often looks stunning, even when the story is not holding up.
But as they say, beauty is only skin deep and despite its aesthetic appeal, the film lacks the substance to support its striking visuals.
The impressive set pieces and artistic shots can not mask the fact that the story is muddled, the characters underdeveloped and the musical aspect, quite frankly, baffling.
Masterclass acting in subpar movie
Phoenix once again delivers a masterclass in acting, embodying the fractured and disturbed Fleck with chilling precision. His commitment to the role is undeniable and he brings depth to the character that might have been lost with a lesser actor.
His portrayal of Fleck’s continued descent into madness is heartbreaking and captivating – when the script allows it.
Unfortunately, even Phoenix’s powerhouse performance can not elevate the film beyond its deeply flawed structure. His moments of brilliance are constantly undercut by awkward shifts in tone and uninspired musical sequences.
Phoenix is doing his best to carry the weight of the film, but it is a heavy burden and the rest of the movie does not rise to meet his efforts.
More confusion than cohesion
Joker: Folie à Deux feels like a franchise that has lost its sense of direction. While the first film was a focused, intense character study that stood on its own, the sequel tries to do too much and ends up feeling scattered and incoherent.
The decision to turn it into a musical, while bold, ultimately does more harm than good, diluting the story and making it difficult for viewers to connect with the characters or the message.
While it has impressive visuals and a standout performance from Phoenix, it is bogged down by ill-fitting musical numbers, a weak script and a squandered Gaga.
If you are looking for mediocrity sprinkled with off-key duets, this film might hit the mark, but those hoping for a meaningful sequel to Joker will likely walk away feeling underwhelmed.
For those curious enough to watch, go in with low expectations and an open mind – or maybe just wait for the soundtrack.
Joker: Folie à Deux is showing in cinemas.
DIRECTOR: Todd Phillips
CAST: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Steve Coogan
E-VALUE: 3/10
PLOT: 2/10
ACTING: 4/10
