Writer/director Todd Phillips (The Hangover) could have taken a cue from Christopher Nolan’s The Dark Knight, in which Batman warns: “You either die a hero or live long enough to see yourself become the villain.”
In some ways, Joker: Folie à Deux feels like it grapples with that very dilemma. The original Joker (2019) was intended to be a one-off – a self-contained story that left a lasting mark on the character and the genre.
But when your film garners 11 Oscar nominations and becomes the first R-rated movie to surpass $1 billion at the box office, the temptation for a sequel is hard to resist. The studio saw those figures and undoubtedly dangled larger cheques in front of Phillips and Joaquin Phoenix until they couldn’t say ‘no’. And so, here we are with Joker: Folie à Deux – basically a musical, no less.
Yes, the rumours are true. Joker 2 is a musical. It’s an unexpected, bold choice, but let’s be honest – it’s like inviting people to a football game and then having them sit through a cricket match. Some who love both games won’t necessarily care about the shift, but most will feel frustrated that it’s not what they signed up for.
The film is set a couple of years after the events of the first Joker. Arthur Fleck (Phoenix) is now confined to Arkham Asylum, heavily sedated and far less chaotic than we remember. He’s a docile inmate, exchanging jokes for cigarettes with his guard, Jackie Sullivan (Brendan Gleeson). Yet, despite his subdued state, Arthur's infamy has only grown. His televised murder of Murray Franklin (Robert De Niro) and his vigilante persona have turned him into the face of a disruptive, anti-establishment movement. Crowds of protestors – donning joker masks – picket Arkham Asylum, while the media circles like vultures, hungry for any updates on his trial.
Arthur’s lawyer, Maryanne Stewart (Catherine Keener), plans to argue that Arthur’s actions were the result of severe childhood trauma, triggering a psychological break. The defence hinges on the idea that Arthur's mental state deteriorated after the subway murders, and that he deserves compassion rather than punishment. It’s a solid legal strategy, but one that clashes with the public perception of Joker as a symbol of rebellion, not mental illness.
While awaiting trial, Arthur is allowed by Sullivan to participate in a music therapy group within the minimum-security wing of Arkham. It’s here he meets Harleen 'Lee' Quinzel (Lady Gaga), and their connection spirals into an increasingly surreal, shared delusion. Their interactions, heavily stylised through elaborate song and dance sequences, blur the boundaries between reality and fantasy, making the audience question what’s real.
However, outside of the musical dream sequences (which I admittedly enjoyed), the plot barely moves forward. The film feels like it’s constantly building toward something big, teasing the audience with the promise of a climactic third act. After all, with a $200 million budget, you expect it to deliver something grand at some point, right?
But that moment never comes. By the time I realised there wouldn’t be any satisfying payoff, I had ‘checked out’. The film lost me, leaving me not just disappointed, but genuinely frustrated.
There’s actually a line where Lady Gaga’s character says: “I don’t think we’re giving the audience what they want.” It almost felt like a direct taunt to the viewers, making me wonder if the film was intentionally trying to ‘troll’ its fans. While I don’t actually believe it was sabotaged on purpose, the decisions here are perplexing. It’s not just the musical aspect – it’s the way Arthur’s character is handled. His journey feels like a complete reversal, turning him back into the weak, defeated figure we met at the beginning of the first film. There’s no progression, no development, and it undoes everything that the first Joker film worked so hard to build.
Though Phoenix and Gaga deliver stellar performances, their talent isn’t enough to salvage a slow, disjointed and unnecessary story.
And no joke, what we’re left with is the biggest movie tragedy of 2024.
ESP Rating: 2.5/5
Mike Clarke
Showcase Cinema De Lux Peterborough, Out Now
Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz & Steve Coogan
Running Time: 2 Hrs 18 Mins
Director: Todd Phillips
Go to www.showcasecinemas.co.uk for all the latest film information & showtimes at Peterborough’s Showcase Cinema De Lux
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