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The Joker is one of the most famous villains in popular culture’s history. An anarchist with seemingly no moral code, “The Clown Prince of Crime” is the perfect foil for Batman.

The Joker has also been the role that’s seen some of the greatest acting performances in superhero movies and TV, including Academy Award wins for Heath Ledger in “The Dark Knight” and Joaquin Phoenix in “Joker.”

Phoenix’s debut as Arthur Fleck was unlike any other in the history of on-screen Joker performances. There was genuine empathy and pain in the character, which Phoenix portrayed brilliantly, along with the film’s effective moments of violence and darkness. “Joker” captivated audiences and, shockingly, grossed over $1 billion at the global box office.

The sequel to the 2019 hit, “Joker: Folie à Deux,” was one of the most anticipated movies of 2024. Fans eagerly waited to see how director Todd Philips would tell the next chapter of Fleck’s story.

One of Ledger’s most famous lines as Joker is “Why so serious?” For Philips’ and Phoenix’s take on the character in “Joker: Folie à Deux,” the opposite question should be asked: why so unserious?

“Joker: Folie à Deux” is not interested in further developing Fleck’s character or telling a deeper societal story. Instead, Philips made a film more focused on lavish musical numbers than plot that at times insults its audience with how little it advances the story.

The film is set two years after the events of “Joker,” as Fleck awaits trial for the murders he committed in Arkham Asylum. He shows little resentment for his actions and spirals out of touch with reality. Fleck’s fantasy and reality blur as the film progresses, culminating in a bizarre closing monologue during his trial.

“Joker: Folie à Deux” distinguishes itself from other superhero movies by relying on musical numbers to advance the plot. In an interview with Variety, Philips described wanting to do something “dangerous” with the movie, which led to its musical elements. The film features over 15 pieces from co-star Lady Gaga, who plays Harley Quinn, including original tracks and some of her previous well-known songs.

In a pivotal scene, television journalist Paddy Meyers (Steve Coogan) interviews Fleck before he goes to trial. Meyers asks Fleck about the previous film’s events and whether he feels changed by his time in Arkham. As Quinn comes to mind, Fleck sings “Bewitched” by Frank Sinatra.

While these sequences are staged and shot well, it’s difficult to take them seriously, especially when the shots cut into moments of tension during the film.

Instead of the bizarre musical number that plays out only in Fleck’s mind, it would have been compelling to learn more about Fleck’s psyche and his experience in prison at this moment. Unlike in “Joker,” Philips neither adds depth to Fleck’s character nor gives him any character arc.

Gaga has no opportunity to fully bring her true acting or musical talents to the film, making her appearance in the film confusing. Quinn is seemingly introduced as a love interest for Fleck though she never establishes strong chemistry with Phoenix to make the relationship feel real.

While Quinn’s musical numbers are fun to watch, they feel like an awkward misuse of Gaga’s stardom. Gaga’s energy could have been used more creatively to represent Quinn as one of the most outlandish characters in the DC comics universe.

The problems with “Joker: Folie à Deux” come to a head at the film’s climax when Fleck’s trial concludes. During the closing argument by lead prosecutor Harvey Dent (Harry Lawtey), the camera zooms in on Fleck’s face, and an elaborate and violent musical number ensues.

An original song, “The Joker,” plays as Fleck mimes killing Dent and the trial’s judge (Bill Smitrovich). Phoenix puts incredible energy into this part of the performance, but the audience knows this is only happening in Fleck’s mind. There’s no tension present in what could have been an exciting, dramatic moment in the film. Philips seems more interested in a fantastical stage production than a dramatic sequel to “Joker.”

2019’s “Joker” was lauded for using a classic comic book character to tell a compelling, thought-provoking story. Philips was inspired by “The King of Comedy” and “Taxi Driver” to tell the story of a man who feels tortured by the world and is provoked to violence.

“Joker: Folie à Deux” seems uninterested in continuing that story or meaningfully evolving Fleck’s character. Everything that made the first film a point of cultural conversation is discarded for Philips’s bland attempt to create a more entertaining movie.

Anyone expecting the same provocative, emotional storytelling of 2019’s “Joker” will be disappointed in the direction Philips takes with the sequel.

Published on October 7, 2024 at 9:59 pm