Joker: Folie à Deux (2024)
Todd Phillips’ Joker: Folie à Deux picks up where its predecessor left off, following Arthur Fleck’s descent into madness. This time, however, the gritty streets of Gotham are punctuated by unexpected musical numbers as Arthur finds an unlikely companion in Harley Quinn, played by Lady Gaga. The film attempts to blend psychological thriller elements with the whimsy of a musical, creating a unique but sometimes jarring experience.
Let’s face it, folks—this flick’s a real head-scratcher. On one hand, you’ve got Joaquin Phoenix reprising his Oscar-winning role with the same intensity that made the first Joker a knockout. He’s still got that tortured soul thing down pat, and when he’s on screen, you can’t look away. But here’s the rub: the movie can’t seem to decide what it wants to be when it grows up.
The addition of Lady Gaga as Harley Quinn is a stroke of genius on paper. She brings her A-game, infusing every scene with electric energy and proving once again that she’s not just a pop star playing dress-up. Their chemistry is palpable, and when they’re together, the screen practically sizzles. But for all her star power, Gaga’s character feels underutilised, like a Ferrari stuck in rush hour traffic.
Now, let’s talk about those musical numbers. They’re bold, they’re unexpected, and they’re… well, hit or miss. Some sequences are genuinely captivating, like the standout The Joker Is Me, which resonates deeply. But others fall flat, feeling more like speed bumps in an already bumpy narrative ride.
The film’s visual style is undeniably stunning. The cinematography paints Gotham in a palette of sickly greens and vibrant reds, creating a world that’s both beautiful and unsettling. Phillips has a knack for creating memorable images, and there are shots here that’ll stick with you long afterwards.
But for all its visual flair, Folie à Deux struggles to find its footing story-wise. The pacing is sluggish, with long stretches where not much happens beyond Arthur’s internal turmoil. It’s like watching a kettle that never quite comes to a boil. The courtroom scenes, which should be riveting, often drag, making you wish you could fast-forward to the next musical number.
Speaking of which, the decision to turn Joker’s world into a musical is audacious, to say the least. It’s the kind of batting-for-the-fences move that you’ve got to respect, even if it doesn’t always connect. The songs, ranging from 1940s Broadway classics to 1970s soft rock, are an eclectic mix that sometimes works brilliantly and other times feels like it’s from a different movie altogether.
The film does tackle some weighty themes, exploring mental health and societal alienation. But unlike its predecessor, which felt like it had something urgent to say, Folie à Deux often comes across as muddled in its messaging. It’s like trying to have a deep conversation at a rock concert—the intention’s there, but the execution’s a bit off.
In the end, Joker: Folie à Deux is a fascinating misfire. It’s got moments of brilliance that’ll make you sit up and take notice, but it’s bogged down by its own ambition. Phoenix and Gaga give it their all, but even their considerable talents can’t quite pull this disparate symphony together.
If you’re looking for a conventional superhero flick or a straightforward musical, you might want to look elsewhere. But if you’re in the mood for something weird, wild, and occasionally wonderful, Folie à Deux might just be your cup of crazy tea. It’s not quite mad genius, but definitely too intriguing to dismiss. Just don’t expect to leave the theatre humming a joyful tune.