The miserable, utterly charmless razzle-dazzle of Joker: Folie à Deux 

Academy Award-nominated filmmaker Todd Phillips takes a bold approach with his latest sequel, Joker: Folie à Deux, posing an intriguing question: What if the most irritating guy you know had a girlfriend who was just as bothersome? And what if they decided to serenade each other with musical numbers? And what if you were stuck watching the whole thing unfold?

The individual in question is Arthur Fleck (played by Joaquin Phoenix), the social misfit turned serial killer from 2019's Joker, who now finds himself in prison awaiting trial after the events of the first movie. His girlfriend is Harley Quinn (played by Lady Gaga), a woman who holds a master's degree in psychiatry and has an intense obsession with Fleck. She goes so far as to get herself imprisoned to keep a closer eye on him. The tumultuous and codependent relationship between Harley Quinn and the Joker has been a part of the Batman universe for many years, first debuting in Batman: The Animated Series back in 1992. The dynamic between the former doctor and her mentally unstable patient has been explored through comics, films, and television. However, in Phillips's new film, their relationship takes on an even darker and, frankly, flatter tone (especially regarding Quinn's character development), but with an abundance of musical numbers.

Indeed, even though he’s reluctant to share it, Phillips has successfully crafted a musical film centered around the Joker’s trial for murder. On the surface, making a supervillain film that steers clear of chaotic city destruction or global threats is as innovative as it gets for a director. By possibly sidestepping the rigid expectations associated with franchise filmmaking and the pressures from Warner Bros., while also incorporating singing and dancing, there was a real opportunity to create something groundbreaking.

However, as Fleck points out, there are individuals who aren't looking for improvement, but rather find comfort in their own suffering. In the film Joker: Folie à Deux, which runs for two hours and twenty minutes, Phillips illustrates this concept effectively.

Don't Be Fooled: Joker 2 Is A Musical!

In a similar vein to films like Mean Girls and Wonka, the marketing and creative team for Joker: Folie à Deux, also known as Joker 2, has chosen not to clearly indicate that the film is a musical—this approach seems to be mirrored by the upcoming Wicked. This lack of transparency may stem from an intention to avoid alienating the original fans of Joker, but it could also reflect the belief that movie audiences are typically not fond of musicals. Both Mean Girls and Wonka didn’t promote themselves as musicals yet performed well at the box office, while more traditional musicals like the revamp of West Side Story and In the Heights didn't do as well as expected.

That being said, even with some hesitation, Joker 2 definitely leans into being a musical film—at certain moments, it aims to be quite provocative.

Phillips prominently employs music as a means of narrative expression, and it’s an emotional tool at that. Throughout the film, Fleck's mental stability comes under scrutiny. Various characters, including judges and doctors, mention that he lives in a "fantasy world." This is where the singing and dancing come into play. Songs like "Get Happy" and the Carpenters’ "Close to You" serve as windows into Fleck’s hopes, anxieties, and struggles with his mental health, all intertwined.

To truly understand the unusual inner world of this individual, one must look closely at his vivid hallucinations, which present a bright and glamorous depiction of his trauma and struggles with mental health.

In these scenes, Lady Gaga gets to drop her pop star persona and reveal the true Stefani Germanotta, her inner theater enthusiast. She shines brightly, particularly when Fleck imagines himself and Harley as a wild take on the classic duo Sonny and Cher. Gaga's passionate and energetic performance makes it clear that there's definitely space for another biopic about Judy Garland—provided she gets the chance to audition for it.

In contrast, Phoenix sings and calls out in a lively manner during his performances.

The outcome resembles a large bird pestering a smaller one. Phoenix’s singing is intentionally off-key, which is quite surprising considering he won an Oscar for his role as Johnny Cash in Walk the Line. Perhaps Phillips thinks that the audience wouldn’t fully grasp how troubled Fleck is if his fantasies sounded smooth and pleasant; however, Phoenix chooses to make his voice jarring. After a few songs, the singing starts to feel a bit like a minor form of punishment. I guess that’s the intention: experiencing life through the Joker’s eyes is meant to be uncomfortable. I just wished to feel that discomfort in a different manner.

Joker 2: My Cousin Vinny Without The Fun

The most confusing aspect of Joker 2 isn’t that it’s a musical; it’s that it takes the form of a courtroom drama. Although there’s a long-standing tradition in film of clowns and their partners facing off in court, this decision doesn’t exactly lead to a thrilling movie.

At the center of this two-hour and 20-minute film lies the question of Arthur Fleck's mental state, as he takes on the persona of the Joker. His lawyer, played by Catherine Keener, argues in court that even though Fleck killed five people, he suffers from dissociative identity disorder (previously called multiple personality disorder). The authorities are unaware that he also murdered his mother, which would increase the toll to six victims. According to his defense, the Joker is simply another side of Fleck, meaning he shouldn’t be held accountable for his actions. On the other hand, prosecutor Harvey Dent (Harry Lawtey), who eventually transforms into the Batman antagonist Two-Face, contends that Fleck and the Joker are just different facets of the same person: a dangerously violent killer.

Watching Fleck in jail, either waiting for his trial or during the proceedings, isn’t exactly thrilling to watch. While the concept of dissociative identity disorder is an interesting legal argument, it loses its appeal when it becomes the sole focus of the story. It's worth mentioning that, contrary to some media depictions, people with DID are not inherently more violent than the average individual. Courtroom dramas typically require some unexpected elements or a buildup to create tension. When everything is laid out clearly from the start—whether Arthur Fleck is responsible for his actions as the Joker or not—it diminishes the excitement of the genre.

Perhaps that's the reason it's a musical?

Since his inception in the 1960s, the Joker has become a legendary figure, designed to instill fear in Gotham City. He wasn’t meant to be cooped up in a prison cell, discussing legal tactics with his attorney. It’s no coincidence that many Batman comics and adaptations feature jailbreak scenarios; Batman's adversaries truly shine when they’re causing havoc!

Phillips appears to be highlighting a significant issue: the alarming impact the Joker has on the people of Gotham. If Fleck is permitted to take on the Joker persona, what’s to prevent everyone else in the city from doing the same? If Fleck is found to be legally insane, how can Gotham's laws protect its citizens? If no one can be punished for committing murder, then it doesn’t matter how strong the police force is or how capable the heroes are. However, aside from the large crowds gathered outside the courthouse, some wearing Joker masks, Phillips doesn't delve into what’s actually occurring in Gotham. We’re not given a clear understanding of the consequences of the Joker’s trial, even though they could lead to the collapse of civilized society.

Even worse, Phillips has somehow managed to create a strange, joyless version of My Cousin Vinny. In the beloved 1992 film, a clown and his Italian girlfriend are the lone defenders against a quirky town trying to wrongly convict two nerdy characters of murder. In Joker 2, a clown and his girlfriend, who has a hint of Italian, are the only ones standing between a confused town and the wrongful conviction of a single nerdy character for murder. Now, picture if Marisa Tomei lacked her charm, the clown was devoid of humor, and if there were no unexpected developments or entertaining moments—like the iconic 1963 Pontiac Tempest with its unique rear suspension. Your honor, that gloomy, unenjoyable mess is The Joker 2.