“Joker: Folie à Deux”
Directed by Todd Phillips, written by Todd Phillips and Scott Silver, produced by Todd Phillips, Emma Tillinger Koskoff and Joseph Garner
Starring: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz, Steve Coogan, Harry Lawtey, Leigh Gill
After the enormous success of “Joker” (2019), a film that became a cultural phenomenon with Joaquin Phoenix’s Oscar-winning performance, the anticipation for “Joker: Folie à Deux” was palpable. However, those who loved the haunting, gritty psychological drama of the original may find themselves somewhat underwhelmed with its sequel. While not an outright disaster, “Folie à Deux” struggles to find its identity, resulting in a film that, though watchable, pales in comparison to its predecessor.
Once again, Phoenix delivers a performance of astonishing depth and emotional complexity. His portrayal of Arthur Fleck, the fragile and disturbed character behind the Joker mask, is the one compelling reason to watch this film. He imbues every scene with an unsettling yet magnetic energy, making it impossible to look away. The subtle gestures, the eerie physicality and the emotional range he taps into make his performance a continuation of his brilliance from the first film.
Phoenix is the beating heart of “Folie à Deux”, and without him, this film would have collapsed under the weight of its own ambition. His ability to embody the fractured psyche of the Joker remains remarkable and is one of the few highlights of this uneven sequel.
Another element that deserves praise is Todd Phillips’ direction. Phillips sets up many scenes with a keen eye for detail and atmosphere, allowing the movie to feel visually striking. The interplay between Phoenix and Lady Gaga’s Harley Quinn is presented in a stylistic and sometimes surreal manner, which keeps the film from becoming completely stale. Phillips knows how to create tension and build suspense through his shot choices, and his direction succeeds in giving the film its necessary moments of intensity.
However, this visual flair is overshadowed by deeper problems that emerge as the film progresses.
One of the most anticipated aspects of “Folie à Deux” was Lady Gaga’s portrayal of Harley Quinn. Unfortunately, Gaga’s performance falls short of expectations. Her acting, while competent, lacks the charisma and layered unpredictability that is synonymous with Harley Quinn. Gaga’s take on the character feels somewhat generic, never truly delving into the unhinged yet endearing qualities that make Harley a standout figure in DC lore. Her chemistry with Phoenix, though serviceable, never reaches the levels of tension or emotional connection that could elevate their dynamic.
It’s hard not to imagine how a different actress—perhaps Margot Robbie, whose take on Harley Quinn is already iconic—might have brought more depth and nuance to the role.
Perhaps the greatest disappointment of “Joker: Folie à Deux” lies in its narrative and tone. The film seems unsure of what it wants to be. Is it a musical? A psychological drama? A twisted romance? The film dabbles in all of these genres but never fully commits to any, creating a tonal inconsistency that leaves the audience confused. The decision to include musical elements initially promises something bold and unconventional, but these sequences often feel disjointed, lacking the cohesion necessary to make them work within the larger framework of the film.
The story itself suffers from a lack of innovation. Unlike the original “Joker”, which felt fresh and daring in its exploration of a man’s descent into madness, “Folie à Deux” offers little in the way of narrative twists or engaging plot developments. The storyline feels flat, and without the strong character arc that made the original so gripping, the sequel feels like a collection of interesting moments rather than a compelling whole.
One of the most jarring aspects of “Joker: Folie à Deux” is its use of musical numbers. Initially, the idea of a dramatic, twisted musical seemed like an exciting departure from traditional superhero narratives. However, the execution falls short. The musical sequences lack purpose and cohesion, feeling more like interruptions rather than integral parts of the story. The blending of genres—drama and musical—creates an awkward fusion that doesn’t quite land, leaving the audience unsure of how to engage with the film. At times, it feels as though the film is teetering on the edge of becoming something avant-garde and fascinating, but it never fully crosses that threshold.
In the end, “Joker: Folie à Deux” is a film held together by Joaquin Phoenix’s mesmerizing performance and Todd Phillips’ skillful direction, but it is ultimately let down by its weak narrative, tonal confusion and underwhelming supporting cast. While it is by no means a terrible film, it certainly fails to live up to the towering expectations set by its predecessor.
If you’re a fan of Phoenix and want to witness his continued brilliance as the Joker, it’s worth watching. But for those hoping for a film that builds on the psychological depth and raw power of the original “Joker”, this sequel may leave you feeling disappointed.
♦ 4,5/10
Dimitris Zacharopoulos
