Joker: Folie á Deux (2024)

To say this film was polarizing upon its release would be an understatement. Friendly terms such as 'the worst film ever made' began following this film around almost as soon as the first weekend's screenings were over. Fans of the comic book genre were baffled. Fans of the first film were baffled. Critics showered it with scourn. Yet among the noise there have been a select few offering their praise, notably one Quentin Tarantino whose opinion on film is respected almost across the board these days. 

Having not been as much of a fan of the first instalment in this franchise, I personally went in with some trepidation. The first film was, for me at least, a sort of lightweight version of both Taxi Driver (1976) and The King of Comedy (1982), and while paying homage to both, matched or bettered neither. The core problem with the film, as I saw it, is that the Joker himself, or in this case Arthur Fleck, just isn't that interesting. That's not to say there is anything wrong with Joaquin Phoenix's portrayal, there isn't. He is magnificent as always. The tone, atmosphere and direction was noticeably excellent too. Todd Phillips is a fine filmmaker. It's just, as a character study, we're talking ultimately about a comic book villain. And I get that the point of the film is to bring it into the real world, thus finding parallels between our lives as we know them in contemporary times and this version of Gotham City, but it all just felt a bit thin. An exercise in style over substance. 

This film takes that trope and cranks it up to an almost immeasurable level. Plot-wise, the story follows on from the first film and we find Arthur awaiting trial for his killing spree in the first go around. Of course, because this is still technically a story that takes place in the DC comics universe, he is holed up in Arkham Asylum. There his life is generally one of quiet squalor and misery until one day he stumbles upon a girl in another unit of the ward. This, we're led to believe, is Harley Quinn and is played excellently by the increasingly impressive Lady Gaga. The problem is...that's it. There is no more plot to be had. 

For two hours and forty long minutes we are slowly monotonized to death. Arthur, throughout the film, seems increasingly prone to fantasy and Gaga soon becomes his muse. Therefore we are treated to many delvings into the mind of Fleck. Now, because these two have been attending musical class within this asylum (yes, you read that right) many of these fantasies involve song and dance. Thus the film begins to take on the form of a pseudo-musical, albeit in a not fully realised way. Indeed not much here feels fully realised and the general feeling while watching is disappointment. We spent an inordinate amount of time waiting for something to happen, only for nothing to happen time and again. The cinematic equivalent of an over-the-trousers hand-job. Indeed there is a moment, about two hours and twenty minutes in, where you think "Finally! Here we go" but even that turns out to be colossally anti-climactic. 

The whole thing feels like an endless first act in that sense. The storytellers are furrowing away at backstory, in this case the state of mind of our protagonist, in what you hope will make for an even bigger impact when he finally becomes what we all know him to be. However, he simply does not become that. This not only flies in the face of the mythology behind the character in question but, more importantly, leaves us, the viewer with the sole question of "why?". Why even bother telling this story at all? 

As an origin story it falls short, because he doesn't become the Joker - a villain synonymous with gripping an entire city with terror - despite having many opportunities to do so. As a love story of two misfits who finally find some semblance of understanding in each other, it also fails because she dumps him the moment Arthur Fleck wins the battle for this man's soul. As a comic book film, there is nothing in the way of action and as a character study of a man struggling with mental illness and driven to murder by his dire circumstances, it also fails again because we did that the first time round. 

Despite, yet again, a fantastic performance from Joaquin Phoenix, superb cinematography, a great score and some directorial flourishes, it just never gets out of first gear. Despite all the right ingredients being in place, we seem to have baked ourselves a very uneven cake, feeling like a number of good ideas that aren't fully seen through, which makes for a disappointing watch. The fact he is supposed to be the Joker and she Harley Quinn is almost entirely irrelevant and you can't help but wonder if this script should have been another film that had nothing to do with DC comics at all. If the focus was on someone generic, that might've made for a more interesting watch. 

The most frustrating thing with this film is that, for a work seemingly desperate to provoke, or be polarising, I found myself in the worst position of all - indifference. Shock, anger, outrage, intrigue, these are all ok. At least you're feeling something. This films offers nothing close to any of these things. It just sort of exists, which feels like the real tragedy here when all is said and done. 

★☆☆☆☆

JB.