In 2019, Todd Phillips’ Joker became an undeniable cultural phenomenon. Joaquin Phoenix’s portrayal of the infamous villain earned him an Oscar for Best Actor, and the film raked in over a billion dollars globally. It was a grim, gritty reimagining of Gotham’s favourite antagonist, blending a troubling depiction of mental illness with a comic book origin story. Despite polarising opinions, the film achieved immense commercial success and became a cultural touchstone.
Fast-forward five years, and Phillips has returned with Joker: Folie à Deux, a sequel that diverges sharply from its predecessor. This time, the Joker is not just a tormented loner but the central figure in a full-blown musical. Unfortunately, the shift in genre—combined with a lack of compelling story—leads to a disappointing, inert film.
A Bold Concept Fails to Land
Phillips’ decision to turn Joker: Folie à Deux into a musical, with pop icon Lady Gaga as Harley Quinn, is nothing if not bold. The soundtrack features classic songs, including Broadway standards like “Bewitched, Bothered and Bewildered” and 1970s hits like The Carpenters’ “Close to You.” However, this intriguing concept is where the film’s intrigue ends.
Instead of breathing life into the story, the musical numbers drain it of energy. The performances are understated, with Phoenix and Gaga purposefully downplaying their vocals to match their characters’ lack of musical experience. While the decision may have seemed creatively sound, it robs the film of any vitality, resulting in a string of uninspired performances.
Lost in the Madness of Arkham
The film picks up where Joker left off, with Phoenix’s Arthur Fleck locked away in Arkham State Hospital. However, instead of facing justice, Arthur finds himself at the centre of a dissociative identity disorder defence. The narrative hints at psychological intrigue, yet the plot never truly takes off.
Arthur’s internal conflict and delusions take the form of continuous musical numbers. The narrative is punctuated by these sequences, which, while stylistically ambitious, slow down an already sluggish story. Instead of a dynamic journey into Arthur’s fractured psyche, viewers are left with repetitive and, at times, incoherent performances.
Harley Quinn’s introduction as Lee Quinzel, an arsonist infatuated with the Joker, should have added intrigue. However, her character is criminally underwritten, leaving Gaga little room to shine. Whether Lee is a vulnerable fangirl or a manipulative femme fatale remains unclear throughout the film.
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Dull Pacing and Lack of Action
For a movie about a comic-book supervillain, Joker: Folie à Deux is notably lacking in action. Aside from a brief car chase, there are no fight scenes or moments of tension. The film is more interested in its musical conceit than delivering the thrills expected in a Joker film. Fans of the first movie may find themselves scratching their heads, wondering why they’ve signed up for nearly two and a half hours of slow, psychological unraveling set to a musical backdrop.
Phoenix and Gaga’s Talent Wasted
Despite their best efforts, Phoenix and Gaga can’t save this sinking ship. Phoenix reprises his role as the tragic Arthur Fleck, but his performance feels like a rehash of what we’ve already seen. The character’s motivations remain as murky as ever, and while Phoenix is committed, there’s only so much he can do with the stagnant material.
Gaga, meanwhile, suffers from being given a character that lacks any real depth. Her transformation into Harley Quinn, one of the most iconic villains in the DC universe, should have been a career-defining role. Instead, Lee Quinzel is reduced to a secondary figure, merely reflecting Arthur’s instability rather than standing on her own. It’s a disappointing misuse of Gaga’s undeniable star power and charisma.
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A Sequel That Feels Like Fan Fiction
With its constant musical numbers, minimal dialogue, and lack of forward motion, Joker: Folie à Deux feels more like an exercise in fan fiction than a fully realised sequel. It’s a film seemingly written for those already obsessed with the Joker mythos rather than for a broad audience. The self-indulgence of the script, which Phoenix and Gaga reportedly helped revise during production, results in a movie that feels disconnected from its audience.
Conclusion: A Missed Opportunity
Todd Phillips took a risk with Joker: Folie à Deux, but the gamble doesn’t pay off. The movie is too long, too slow, and too self-serious to succeed as a compelling sequel. Lady Gaga and Joaquin Phoenix, two of the most talented performers of their generation, are left floundering in a narrative that does little to serve their talents.
While Joker: Folie à Deux might still attract curious viewers based on the star power alone, it’s unlikely to generate the same cultural impact as its predecessor. For fans expecting another dark, violent exploration of Gotham’s underbelly, this musical detour is a disappointing and confusing misstep.