Review: ‘Joker: Folie á Deux’ pairs two singing jailbirds but skimps on supervillainy

As a seasoned movie critic with over three decades of experience, I’ve seen my fair share of sequels that fall short of their predecessors. “Joker: Folie à Deux” unfortunately finds itself on the wrong side of that line.

In the musical romance between Batman characters, the concept of “Folie à deux” (a shared delusion) is employed, but in Todd Phillips’ follow-up to his 2019 blockbuster “Joker,” the initial query becomes: Who are the two involved in this madness? Is it Joker and Harley Quinn, Arthur Fleck, or someone else? Despite issues with pacing and a heavy atmosphere that hang over the film, it does present some intriguing theories, though none seem to satisfactorily answer the broader questions of: What have I just witnessed, and why?

In the sequel “Joker: Folie à Deux,” penned by Phillips and Scott Silver, we find ourselves two years after the events of “Joker,” with Joaquin Phoenix reprising his Academy Award-winning role as Arthur Fleck, now confined at Arkham Asylum, awaiting trial for his numerous transgressions. The story is preceded by a whimsical cartoon titled “Me and My Shadow,” reminiscent of Looney Tunes, which portrays Arthur struggling against his own shadow, symbolizing the powerful, often unacceptable aspects within us that lie hidden. Catherine Keener takes on another insightful, compassionate role as Arthur’s diligent lawyer, who plans to employ a “shadow” defense in court: claiming that Arthur is not responsible for his actions because Joker represents an alternate personality residing within him.

One of the potential pairs in this movie is Arthur and Harleen “Lee” Quinzel (portrayed by Lady Gaga), who takes on the role of Harley Quinn in this adaptation. You might recognize her from previous portrayals by Margot Robbie in “Suicide Squad,” “The Suicide Squad,” and “Birds of Prey.” These two characters share a fondness for music and discussing the topic of killing their parents. The remainder of the story revolves around Arthur’s trial, where he is prosecuted by Gotham’s arrogant Assistant District Attorney, Harvey Dent (played by Harry Lawtey). Additionally, there are numerous songs throughout the film.

In my perspective, “Folie” truly embodies a continuation of the masterpiece that is “Joker,” retaining the same captivating cinematic style. The brilliant cinematographer, Lawrence Sher, skillfully frames striking scenes such as Arthur’s response to Lee drawing a lipstick smile on glass, and the poignant moment when Arthur and Lee exchange cigarette smoke through prison bars. As always, Phoenix delivers an intense performance that lives up to our expectations, while Lady Gaga convincingly portrays a disturbed fan. A significant shift in this production is their frequent forays into song – at times it feels more like a subtle seepage rather than an explosive burst – dipping into the timeless Great American Songbook for classics such as “That’s Entertainment!” and “Bewitched (Bothered and Bewildered).

11 tracks are featured on the soundtrack album, and there are even more in the film itself, presented either entirely or partially. At times, the numbers play a role in the story, but not always. The artists do their best, but the musical interludes can test our patience. They often disrupt the flow of events, and there isn’t much momentum to begin with. There’s no hint of a secret verdict or any elaborate plan that Arthur or Lee might be hatching, which serves as a reminder, somewhat disappointingly, that this production is far from being comparable to “Joker.

2019’s movie exhibited a stronger resemblance to the offspring of “Taxi Driver” and “The King of Comedy,” featuring Robert De Niro, rather than adhering to a typical origin story. Instead, Phillips seemed more focused on utilizing a Martin Scorsese blueprint over a DC one. In the subsequent film, a character resembling Scorsese appears as a judge.

In essence, people might ask themselves why the sequel, beyond earning another billion dollars, was made. This question lingers throughout “Folie à Deux,” which lacks consistency and often seems disjointed until a remarkable courtroom scene where Joker/Arthur takes on the role of his own lawyer. Here, Phoenix truly shines, and the movie does too – it’s amusing, odd, and eerily menacing all at once, providing a much-needed boost to the somewhat stagnant genre of comic book adaptations. However, those anticipating the emergence of the classic Joker from madness will be disappointed, as this film doesn’t follow that path either. Instead, it offers something different.

The movie isn’t primarily focused on romantic aspects and instead delves into societal expectations placed upon the Joker by media, public opinion, etc. It strays far from the typical supervillain narrative, bordering on self-referential. However, the extended musical sequences seem to divert rather than deepen our understanding of Arthur, which is a disappointment in the context of a character study. And it certainly doesn’t deliver as a suspenseful thriller.

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2024-10-04 22:01