“Joker: Folie à Deux,” the highly anticipated sequel to the 2019 film “Joker,” directed by Todd Phillips, falls short of expectations, presenting a grim and stagnant cinematic experience that seems intent on dismantling the concept of a traditional comic book movie.
The film, which stars Joaquin Phoenix reprising his role as Arthur Fleck and Lady Gaga as Harley Quinn, fails to capture the acclaim of its predecessor, which garnered multiple Academy Award nominations and earned Phoenix a Best Actor Oscar. In fact, it may not even be the standout Joker film of 2024, with some critics pointing to “The People’s Joker,” a trans reinterpretation of the character, as the more compelling take.
This iteration finds Arthur Fleck amidst a claustrophobic setting, bogged down by a first half that feels heavily like a violent prison drama, followed by a second half that meanders into dull courtroom territory. Although the movie has been described as a musical, its fleeting musical moments are sparse and more akin to half-hearted whisper-singing than full-fledged performances.
The original “Joker” drew parallels to Martin Scorsese’s “Taxi Driver” while providing an original commentary on urban decay, capitalism, and vigilantism. In its sequel, Fleck finds himself stripped of his power, now facing trial in the dreary confines of Arkham State Hospital, where he encounters Harley Quinn, who further encourages his descent into chaos.
However, the film’s pacing suffers significantly once the courtroom drama begins, relegating Harley to a mere spectator. In contrast to the ambitious nature of other recent films, “Joker: Folie à Deux” stands as a lackluster continuation of the franchise, overshadowed by the vibrant creativity found in films like Francis Ford Coppola’s recent work.