Jacked In Reviews ‘Joker: Folie à Deux’ (2024)

The much-anticipated sequel to Todd Phillip’s groundbreakingly, grounded comic book movie is finally upon us. Now, when your first iteration is celebrated for breaking away from the pack and being brilliantly self-contained, a sequel will always come with (perhaps, unachievably) high expectations. And sadly, come the end credits of Joker: Folie à Deux you can’t help but hear the Bee Gees Started to Cry Lyrics “Oh, if I’d only seen, that the joke was on me” as you walk in slow-motion towards the cinema car park. 

The story picks up with Arthur Fleck (Joaquin Phoenix) from where we last saw him – Gotham Corrections. With the help of his attorney Maryanne Stewart (Catherine Keener), Arthur hopes to go to trial – for his actions in the previous movie – proving that he and his alter ego, Joker are two separate people. The end goal hopefully being, that he is transferred to somewhere that has the proper facilities to care for someone with his “disorder”. Unfortunately for Arthur, the bad influence that is Harley “Lee” Quinzel befriends him and has somewhat of an unhealthy infatuation with his Joker persona. Does chaos then ensue?… Not really. 

Chemistry-wise when Arthur and Lee are together, it’s flawless…

Although character arcs are almost non-existent, performance-wise, no one can be faulted, everyone involved was on point. Phoenix brought back his damaged facade, managing to add another layer of depression as well as some warmth we haven’t seen in Arthur before. Chemistry-wise when Arthur and Lee are together, it’s flawless, even going so far as being able to carry out back-and-forth conversations with delightfully subtle facial expressions. Gaga can not (and should not) be compared to Margot Robbie’s, Quinn as it’s a completely different interpretation and it’s fair to say she encompasses every part of the movie’s toxic title. Even Lawrence Sher‘s (Joker, The Hangover) cinematography was positively stunning from start to finish.

The sequel goes left at the traffic lights and almost doesn’t know what it wants to be.

The main issue with this feature is the story. In terms of structure, it is quite clear that 2019’s Joker paid massive homage to the likes of Martin Scorsese’s King of Comedy and Taxi Driver. The sequel goes left at the traffic lights and almost doesn’t know what it wants to be. In part it is extremely dark and grounded, seemingly telling us [the audience] off for being “entertained” by the first instalment, as we live vicariously through Lee who puts Joker on this pedestal. Then, it pretty much doubles down on this notion for the last two-thirds of the movie as it becomes that of a courtroom drama – which well and truly drifts off to the silly (in a Joker movie, I know right!?) end when Arthur is allowed to represent himself in full makeup.

The most interesting aspect of this sequel however is how it is trying to pay some kind of tribute to the 1960s, Rat Pack era with these (albiet, gorgeous looking) misplaced musical numbers throughout. This is set up via the notion that “We use music to make us whole, to balance the fractures within ourselves” and represents not only Arthur’s healing but his duality with his alter ego, Joker. The problem is, not only do these more theatric segments drag their feet and still somehow manage to seem dull, but at this point the movie really does become even more muddled in terms of tone, pick a lane!

The message regarding sensationalising false idols is crystal clear, execution-wise though, it missed the mark.

The message regarding sensationalising false idols is crystal clear, execution-wise though, it missed the mark. Not only that but you’re almost hesitant to enjoy anything after being scorned for enjoying its predecessor. All in all, although it is “interesting”, you’ll most likely come away with the same thought you had during the movie’s animated introduction… “What the fuck did I just watch?”.

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