As a lifelong fan of gritty, character-driven dramas and musicals alike, I found myself at a crossroads when it came to Joker: Folie à Deux. Having been captivated by the raw intensity of Joaquin Phoenix’s performance in the first film, I was eager to see where Todd Phillips would take the story next. Little did I know that next would be a journey through a land of singing psychopaths and courtroom tedium.
In 2019, Todd Phillips ventured beyond typical comic book adaptations with Joker, crafting a thoughtful character study that drew inspiration from Martin Scorsese’s films Taxi Driver and The King of Comedy. This film, which sparked much debate, received notable acclaim, including an Academy Award for Joaquin Phoenix in the lead role. The movie’s enigmatic conclusion would have made it a stunning standalone piece in a market flooded with interconnected cinematic universes.
Any film earning over $1 billion globally demands a follow-up, and it’s only fitting that the creator of The Hangover Part II and III should be entrusted with this task. After all, what could possibly go awry? I proudly introduce to you Joker: Madness in Pairs.
How does one proceed with the sequel to that initial film? Director Phillips attempts a bold move by transforming it into a musical; however, it seems he overlooked ensuring it would be a compelling one. Known for her recent acting prowess in A Star is Born and House of Gucci, music sensation Lady Gaga is an inspired choice as Harleen “Lee” Quinn. Although the portrayal deviates from Margot Robbie’s portrayal or any cartoon depictions, Gaga exudes strong screen presence as this character. Phoenix, who won an Oscar for his role as Arthur Fleck previously, may not win again this time but delivers a performance that feels like a fitting extension of the first movie.
In an unusual twist, the film “But Joker: Folie á Deux” seems to have been crafted for a specific, niche audience – one that might not typically include musical enthusiasts or fans of Lady Gaga. While die-hard fans of the genre may be drawn in by the premise, they might find themselves dismayed by the movie’s lackluster music, as Jared Leto (Joker) is not a professional singer and struggles to match Lady Gaga’s vocal prowess. However, this decision appears intriguing initially, as Arthur first encounters Lee through her singing, leading him to use music as a means of communication. The early dance number is particularly noteworthy, presenting a captivating portrayal of a twisted, romantic duo between two psychopathic characters who seem perfectly suited for each other.
But the musical choice is a risk that doesn’t pay off for me. The first film was a very grounded character study, so it’s a significant departure to have this movie go full-fledged fantastical musical. If the music were excellent, I wouldn’t mind. But after a while, many musical numbers add nothing to the story. They mainly happen in fantasy sequences in Joker’s mind, and each musical number disrupts the story’s pacing. They don’t advance the plot because they’re essentially extended dream sequences.
In the first film, peeking into Arthur’s thoughts worked effectively due to the deception that he had a real girlfriend. However, when we learn that it was merely a figment of his imagination, it leaves us feeling betrayed by his mind. Given that all musical sequences are part of his inner world, they come across as unnecessary additions. These scenes don’t reveal any new information, and they lack the necessary engagement to be enjoyable. The song selections sometimes succeed, but they’re inconsistent – they might appeal during viewing, but they fail to leave a lasting impression. In summary, while they’re tolerable when you watch them, they don’t make a significant impact.
Folie á Deux can be described as a blend of a musical and a courtroom drama. However, the courtroom segments feel quite uneventful because they mostly involve characters rehashing events from the first film, which we’ve already watched. This repetition becomes tedious because the movie seems more focused on referencing the previous film rather than creating a fresh narrative. Consequently, the film lacks any real forward momentum, leaving us stuck in a courtroom setting with minimal new information.
Among the oddities of this movie lies the fact that its production cost skyrocketed to an astounding $200 million, a significant leap from the original’s budget of $55-70 million. Despite the substantial increase, the film appears more limited in scope than its predecessor. The majority of the story unfolds within two settings: the courtroom and the prison. Brendan Gleeson portrays a prison guard, yet his character seems to hold minimal importance by the movie’s end.
As far as insignificant characters go, it seems odd that Lee is included, given he doesn’t impact the story about Arthur’s trial for the murders from the initial film. His role in the plotline appears to be irrelevant.
Folie à Deux” primarily uses Lee as a motivator for Arthur, making him feel noticed. However, Arthur’s main objective throughout the movie is to gain freedom, and Lee doesn’t significantly alter this goal. Although Arthur desires to escape with Lee, this motivation seems insubstantial. The film seems to lack significant events until the final act, and themes like mental health and class from the original movie are overshadowed by numerous musical numbers. At times, one wishes the characters would stop singing and engage in more meaningful actions. Regrettably, the film doesn’t fully deliver on its potential until the climax, but it arrives too late to make a lasting impact.
SCORE: 3/10
In my gaming experience, when I come across something that’s been rated a 3 by ComingSoon, it means it’s not so great. To be honest, there were quite a few problems with this game or media, making it feel more like a tedious task than the enjoyable escape I was hoping for.
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2024-10-07 06:10