Joker: Folie à Deux can’t find the right note (Movie Review)

Joker: Folie à Deux can't find the right note (Movie Review)

Beware vague SPOILERS below!

As a long-time movie enthusiast who has seen their fair share of cinematic masterpieces and trainwrecks alike, I must say that Todd Phillips’ latest offering, “Joker: Folie à Deux“, left me feeling somewhat divided. On one hand, I was captivated by the luminous performances of Joaquin Phoenix and Lady Gaga, and the film’s ability to channel a certain brand of disaffected rage that resonates with many of us. However, on the other hand, the movie felt like a jumbled mess, struggling to reconcile its various elements into a cohesive whole.

Back in 2019, when Todd Phillips unleashed his masterpiece, Joker, I was genuinely worried that its impact could spill into reality, sparking real-world violence. Fear ran so deep, some theaters had to cancel screenings and undercover cops were a common sight amidst the popcorn and soft drinks.

In the end, nothing transpired as expected – remember, it’s a film, not an instrument for mind control – but given the context, it was understandable why some people became anxious. The United States was still recovering from the Charlottesville riots that took place a few years ago, and the movie, Joker, did strike a chord with many by reflecting a widespread frustration among disgruntled young men throughout history: the government is corrupt, families are flawed, life is miserable, and we should tear it all down. The primary issue with Joker as a film lies in its struggle to balance its aspirations for significance with how flimsy and superficial that philosophy appears – after all, this is a Batman spinoff, so does it truly intend to provide us with a coherent theory of human nature? Nevertheless, I acknowledge that the movie effectively captures that sense of disillusioned, rebellious anger. Joaquin Phoenix delivers an outstanding performance under the watchful eye of director Phillips. Bravo all around, moral concerns notwithstanding.

It’s unlikely that viewers will find themselves driven to madness by the movie Joker: Folie à Deux. In this sequel, Joaquin Phoenix reprises his role as Arthur Fleck, a failed comedian transformed into a public menace known as the Joker. His portrayal is intense, with his compulsive laughter appearing painful and his body looking thin and bony. Lady Gaga joins the cast as Lee Quinzel, more familiar to Batman fans as Harley Quinn, and delivers a strong performance. Director Todd Phillips continues to demonstrate skill in framing shots and pacing scenes. However, this time around, all the pieces seem to lack cohesion.

The film isn’t short on creative concepts, however, several seem incomplete. For instance, the romance plotline. After serving time due to events from the initial film, Arthur encounters Lee in a music therapy session. She admires the Joker and might be just as unhinged as he is. They swiftly fall for each other. At one juncture, the movie hints that Lee could have hidden intentions, which adds intrigue, but this thread is abandoned abruptly, suggesting the script struggles to determine Lee’s role effectively.

As I delved deeper into the game, I found that Lee wasn’t as intricately crafted as the character Arthur. Arthur embarked on a rather puzzling journey in the first Joker movie, transforming from a pitiful misfit into a beacon of chaos. In Folie à Deux, he finds himself back at square one; he’s timid and uncertain once more, worn down by the harsh realities of prison life away from the limelight. He needs to climb his way back up to becoming the Joker again.

In this rephrased version, I’ve tried to make the text more conversational and easy to understand:

Joker: Folie à Deux can't find the right note (Movie Review)

That’s Entertainment?

Another significant aspect we haven’t touched on yet: “Folie à Deux” is a musical production, primarily consisting of jukebox numbers from the 1940s, ’50s, and ’60s big band era. The plot revolves around Arthur and Lee, who are so deeply moved that they erupt into song when speech seems insufficient – a common trait in musicals.

Approximately every other time, it functions. Many of the musical sequences (most of which are staged in Arthur’s fantastical realm) are standout moments within the movie. I was captivated by the moving performance of “Gonna Build a Mountain,” where Lady Gaga showcased her soulful piano skills and powerful vocals, while Joaquin Phoenix danced energetically. Additionally, I appreciated the scene reminiscent of a Sonny-&-Cher variety show, in which they sang “To Love Somebody.

Other moments fall flatter, like Arthur’s first growly rendition of “For Once In My Life.” Audiences have been skeptical of musicals for decades; it takes a lot to win them over, and giving the first big number to Phoenix, who is far outclassed by Lady Gaga in the singing department, isn’t the best move. Gaga herself is only allowed to really let rip in the pure fantasy sequences; in the “real world,” she purposefully constricts her voice so she can sound more like an ordinary person. I get why they want to do this for realism purposes, but also: why are you hiring Lady Gaga, one of the greatest pop stars of her generation, if you’re not going to let her give it all she has?

In summary, certain tunes serve a realistic purpose while others offer a fantastical twist. Interestingly, it’s the fantastical elements that generally stand out, but Phoenix’s poignant phone call during the movie’s finale was particularly moving for me.

Verdict

The sequel “Joker: Folie à Deux” delves deeper into the events of the initial film than you might anticipate, causing it to struggle to establish its own distinct narrative identity, as the storyline centered around Arthur’s trial dominates the plot. Towards the climax, it seems like the filmmakers realized this is a “Batman” spinoff on the final day of shooting and hastily included a large-scale action scene with minimal setup.

As a devoted fan, it feels like the creators of this film tossed an intriguing mix into a blender: they’re reconsidering Arthur’s purpose from the initial installment, interweaving romance, music, last-minute action sequences, and even a hint of a prison life story. Frankly, I wish Folie à Deux had chosen one theme to fully explore instead of trying to juggle so many elements. Despite its visually appealing aspects, the movie seems lost in its own complexity.

Movie Grade: C

2024-10-03 23:41