Can the sequel to one of the most controversial comic book movies ever made live up to its own hype? Director Todd Philips (Old School, The Hangover) reunites with star Joaquin Phoenix (Napoleon, Walk the Line) to build on their 2016 character study and continue the story of Arthur Fleck, the man who would be Joker.

Applause

2019’s Joker was a gritty, psychological crime drama that made headlines for its unflinching take on mental illness by way of one of DC Comics’ most iconic villains. As directed by Philips, the film drew heavy inspiration from the works of Martin Scorcese (The Departed, Killers of the Flower Moon), particularly Taxi Driver and The Comedian. Tracking one man’s journey into homicidal insanity, the film was anchored by a deliberately unhinged performance from Phoenix. Cementing the film’s notoriety, Phoenix would become the second actor in a row to win an Oscar for playing the Clown Prince of Crime.

An unlikely hit, the film defied expectations to gross over a billion dollars at the global box office, making it the highest grossing R-rated film of all time until being dethroned by this year’s Deadpool & Wolverine. As such, it’s no exaggeration to say that expectations for the sequel were reasonably high. But along with those expectations came concerns that Joker glorified the infamous Batman villain in a way entirely unsuitable for mass entertainment. While this can certainly be argued, it does beg the question of just what those critics would consider “suitable” for the unapologetic agent of chaos (and, well, murder) that the character represents.

Was the R-rating not enough of a giveaway that this film wasn’t for everybody?

Bad Romance

Folie à Deux opens with Arthur (Phoenix) in Arkham psychiatric hospital under the careful watch of mercurial guard Brendan Gleeson (Harry Potter, The Banshees of Inisherin). While preparing for a hearing on his ability to stand trial for his crimes, Arthur meets Harleen “Lee” Quinzel, a fellow patient with a flair for the whimsical. As infatuation gives way to arson and musical numbers, the two begin a pseudo-relationship predicated on Arthur (re-)assuming his so-called “Joker” persona. When Arthur is declared mentally fit to stand trial, all of Gotham tunes in for the trial of the century. As the trial wears on, and ghosts from Arthur’s past resurface, he will be forced to contend with the consequences of his actions and decide just where he ends, and the Joker begins.

The Edge of Glory

Following up the original film’s nihilistic narrative with a jukebox musical is an audacious concept, while the addition of Academy Award-winner Lady Gaga (A Star is Born) as Harley Quinn adds an irresistible hook. Psychological introspection by way of musical numbers isn’t a new concept, and Gaga and Phoenix manage to breathe a sort of manic urgency into their performances. Each is doing their own singing, and the first few instances, such as Fleck’s “For Once in My Life” are magnificent in their nerve.

That’s Entertainment(?)

Now, don’t get me wrong, movie musicals, done well, can be wonderful exercises in narrative showmanship, to say nothing of big screen magic. Unfortunately, it feels like the filmmakers were so taken with the notion that they didn’t know when to stop – there are so many musical numbers here that when a character says, “I don’t want to sing anymore”, it could have drawn applause. Additional frustration stems from the movie not knowing whether it wants the songs to be happening in the context of the scene or in the character’s heads, switching back and forth multiple times. Sure, it can be argued that this corresponds to its lead characters’ mental states, the vagueness of the execution fails to convey any clarity of purpose.

Shallow

Adding insult to injury, Gaga seems to have been brought in just to sing and dance, with many of her trailer scenes missing from the final film. Whatever opportunity there was to showcase her talents in a new light are squandered; after some promising introductory bits, and one highly problematic sequence involving makeup, her presence outside of the musical numbers is surprisingly passive. While there are attempts to recontextualize the character as the Joker’s manipulator (as opposed to his victim), the film fails to flesh out -or even exploit- this twist to any sort of satisfying result. What we’re left with is effectively half a performance, and it shows.

Born This Way

By far, the most divisive aspect of the film is its decision to abandon the conviction of its predecessor. Where 2016’s Joker made no apologies for its unsettling take on mental health and rage-induced violence, Folie à Deux seems like an attempt to address (if not outright apologize) for it. The biggest moment comes when Arthur, having been goaded by Harley to represent himself in full Joker regalia, renounces the identity, and regresses into the sad sack he started as in 2016. All character development is effectively discarded, and any impact is negated by the fact that precious little is done to justify the character’s change of heart. It’s not so much an act of character assassination on the part of the filmmakers, as it is one of character suicide.

Monster

While one would never wish to promote violence or homicidal tendencies, the Joker has persisted in the public consciousness precisely for his decided lack of empathy or self-awareness. Whether you first encountered him as a trickster, a super villain, or an agent of chaos, the Joker was always distinguished by his unrelenting, unrepentant nature. Whatever work the previous film did to give him a possible origin is tossed aside in favor of a cheap twist, compounded by a closing scene where the filmmakers make their assassination literal.

And don’t get me started on the way it’s done, which is so cheap and embarrassing as to be laughable. As for the guy who performs the actual onscreen kill, well, he’s clearly just there in case Warner Bros decides to make a third one of these.

Heaven forbid.

Die with a Smile

While audiences likely knew what they were in for by going into a Joker movie, it’s clear that the people behind Joker 2 either didn’t know or didn’t care. What begins as a beautifully twisted sequel derails itself when Folie à Deux effectively disowns what made Arthur -and his entire first film- so striking in the first place. By reframing his previous actions as those of a victim, the erstwhile sociopath is stripped of both mystique and agency.

As a result, when a disgusted Harley abandons him mid-trial, the remainder of the film’s convictions exit with her.

If only we’d thought to do the same.

Have you seen Joker 2? Tell us what you think in the comments!