Joker 2 is exactly what comic book nerds have clamoured for – now they’ll regret it
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As Oscar Wilde famously said, there are two major misfortunes in life: one is not achieving what you desire, and the other is actually achieving it. This sentiment is likely to resonate with comic book enthusiasts this weekend as they anticipate the release of Joker: Folie à Deux in theaters. This film serves as a sequel to the 2019 movie Joker, which portrayed Batman's infamous adversary as a violent and disillusioned individual, reminiscent of the character Travis Bickle. The movie appears to be a deliberate effort to elevate the superhero genre. Many comic book fans have been longing for this type of film—one that takes itself seriously and presents a gritty, realistic narrative set against a backdrop of caped heroes. Well, they’ve finally got what they were asking for.
In the last fifteen years, superhero movies have taken center stage in mainstream filmmaking. Despite their box office success and cultural presence, there's a notable skepticism from some critics about their artistic value. Martin Scorsese’s reference to Marvel films as akin to “theme parks” has resonated deeply, as has the comparison to “fast food” in cinema. This viewpoint reflects a sense of inferiority that is only partly warranted. While there are still critics who dismiss the genre, superhero films have been acknowledged for their artistry in the past. For instance, even before Joaquin Phoenix earned the Best Actor Oscar for his role in Joker, the genre had seen recognition; Superman snagged an Oscar for visual effects way back in 1979, and The Dark Knight, featuring Heath Ledger’s acclaimed performance, demonstrated that critics are open to appreciating quality within blockbuster comic book films. However, fans are still clamoring for a shift towards more serious and meaningful films that defy accusations of being mere entertainment. Folie à Deux fits this description: it aims for credibility and restraint, but ultimately falls flat and feels incredibly boring.
With the release of the new film, the original Joker feels more like a test run—an adult comic book movie that was visually restrained but ultimately gave in to the flashy spectacle that audiences might anticipate. In its final act, Joker showed its troubled lead, Arthur Fleck (played by Phoenix), shoot a talk show host on live television, take the lives of several others, and spark a riot. The sequel tones down this excess, unravels it, and critiques it. It's a film that strongly opposes its own concept, telling the story of a supervillain who rejects the path of villainy.
Most of *Folie à Deux* focuses on the Joker's time in jail and his murder trial. We see moments in the prison yard and conversations between him and his lawyer, providing deep insights into Fleck's mental state. Surprisingly, the film also includes musical elements, but the old show tunes used do little to provide an escape from the somber reality. Aside from a brief and unexpectedly humorous courtroom scene, the film maintains a heavy, subdued atmosphere, showcasing a sense of deliberate repression. Pop icon Lady Gaga joins the cast as Harley Quinn, Fleck's wild love interest (renamed Lee Quinzel in this version), yet even she struggles to pull out the supervillain side of him. Near the film's conclusion, Fleck escapes from the courtroom, and for a moment, *Folie à Deux* seems ready to follow typical superhero film conventions with an exciting action scene—but ultimately that doesn’t happen. Director Todd Phillips appears to be making a statement about what grounded superhero stories truly entail.
Folie à Deux resembles Michael Corleone from The Godfather Part III and Stringer Bell from season three of The Wire—both are notorious criminals looking for approval from mainstream society. However, like those characters, they find it difficult to gain that acceptance. The original Joker movie was a huge hit, once holding the record for the highest-grossing R-rated film, earning over $1 billion and winning an Oscar. Folie à Deux, benefiting from greater creative freedom and a reportedly larger budget of around $200 million—comparable to massive blockbuster films like Avengers Assemble—seemed set to be a spectacular follow-up. Yet, early predictions and reactions suggest that audiences are not embracing it. A wave of negative reviews has certainly not helped (although The Independent called it “formally daring”). This film seems crafted to provoke disappointment, and the audience can sense this lurking in the atmosphere, much like the warning of a gas leak.
The twist here is that by fully committing to the idea of making a serious Joker movie, Phillips has shown exactly why such a film isn't necessary. While Arthur Fleck might come across as more psychologically complex than Ledger's vibrant portrayal in The Dark Knight, he's far less engaging to watch and lacks the artistic flair. Ironically, Folie à Deux falls into the same traps that comic book enthusiasts often criticize—the notion that a film has to be “artsy” and “mature” to earn respect. In reshaping the genre to fit the standards of “real art,” Folie à Deux has lost the very elements that made superhero movies enjoyable to begin with. So, who's laughing now? Certainly not anyone.
