In 2019, the comic book genre was at its peak. Marvel Studios’ had wide success and even DC and Warner Bros., who have famously struggled to find their footing, released the universally well received “Shazam!”
However, the real surprise came in the form of Todd Phillip’s “Joker.”
“Joker” won its lead actor, Joaquin Phoenix, an academy award for his performance as the titular villain and went on to become the highest grossing R-rated film of all time. For many people, despite its divisiveness among critics and audiences, the adaptation redefined the idea of what a comic book film could be.
Fast forward five years later, and the state of the comic book genre is not what it once was. Moviegoers seem less enthused by the genre, and frankly, there doesn’t seem to be much else to explore within these highly fictionalized worlds. But alas, no film can make a billion dollars and not have a follow-up of some sort.
“Joker: Folie à Deux” is the sequel to Phillip’s 2019 film. The sequel, which was released on Friday, Oct. 4, is, in a multitude of ways, the direct antithesis to the film that precedes it. The new film challenges its audience, and more specifically, the fans of the first film. By “challenges,” I mean, of course, that the film offerings are unlike much of what the first film had to offer.
Perhaps in 2019 I would have been upset with this concept. However, as time has moved on, the original “Joker” (if you could call it original) has aged less like a fine wine and more like milk. While not ill-intentioned, the film has no real interest in expanding upon its fairly surface level ideas regarding mental illness and societal issues.
For better or for worse, its sequel takes a much deeper dive into its lead character’s psyche and has more compelling ideas about how he feels about his place within the world following the events of the first film.
This seems not all too dissimilar to what feelings director Phillips seems to have towards his previous work. While it may be a stretch to say that the character of Arthur Fleck is a literal stand-in for Phillips, it seems pretty clear that the thesis of the film is one of regret and owning up to legitimate wrongdoings. In that sense, “Joker: Folie à Deux” is one of the boldest mainstream releases I believe I have ever seen.
With that said, most of what the film hopes to achieve with said goals in mind falls flat. While most fans are upset with how the film handles the legacy of the first film, I am more frustrated by how it chooses to insert new ideas instead of being opposed to the new ideas themselves.
The film is a jukebox musical, but it refuses to commit to that and the musical numbers are oftentimes lifeless aside from some miraculous camerawork and lighting. The central performances are terrific as well, but Lady Gaga is severely underutilized in the film’s second half, and her inclusion left me scratching my head as to whether or not she is a necessary component of the film at all.
All of this culminates into what I believe to be an unfortunate bore for the majority of its runtime. I don’t hate this film. In fact, I do not even dislike it. It is simply frustrating that a film that is this willing to puncture the status quo goes about it in such a convoluted way.
“Joker: Folie à Deux” is, in a word, fascinating. In a few words, however, it is a visually striking dismantling of sensationalism that I only wish was more successful in striking its blows.
“Joker: Folie à Deux” is in theaters now.
