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Stars: Joaquin Phoenix, Lady Gaga, Brendan Gleeson
Director: Todd Phillips
Distributor: Warner Bros. UK

“I want you to stop singing.”

Five years from his Oscar-winning portrayal as Arthur Fleck, aka Joker, Joaquin Phoenix returns as the titular character in a potentially more divisive film than its predecessor. Yes, the rumours are true: Joker: Folie à Deux is a musical to some degree. This is no Singin’ in the Rain, but dancing, perhaps.

Following the absolutely batshit and chaotic conclusion of the last film, Arthur Fleck now resides in Arkham Asylum. Currently in the process of being examined to determine whether he is deemed fit enough to stand trial for his crimes consisting of six murders, Fleck is a bizarre outcast often teased to tell jokes at the amusement of Brendan Gleeson’s Guard Jackie and his aggressive co-workers. When taken to a group singing session with inmates from another ward, Fleck clashes personalities with none other than Lady Gaga’s Harley Quinn.

Diving into the psyche of Arthur Fleck manipulates Joker: Folie à Deux into an extremely off-beat musical once he is acquainted with Harley Quinn following the music group. Generally, as an overall film, this sequel is ace in terms of its mature depiction of its themes, but as a musical, it doesn’t really work and often delves into a Lady Gaga spectacle. Which is fine, but also repetitive. Essentially, there are too many musical numbers, with too many being ineffective. Often, they feel like a joke towards the audience…

However, on a more positive note, the presentation of Fleck’s mindset and his balance between the persona’s of Fleck and Joker, make for an often surreal viewing. Whilst the songs and signing are somewhat inconsistent, the shift in perception and reality during these musical numbers are stunning. Often, these are counter-balanced with a compound of striking images and a haunting score, ensuring that Todd Phillips’ creation can thrill and disturb you at the same time.

Like Joker, the world of Gotham is both grimy and gratuitous to some extent. The dullness of Arkham makes for an excellent juxtaposition for Fleck’s often gleeful performances once he gradually re-embraces the Joker persona. Gaga’s Quinn – crazed admirer of Joker – uses her charm to bring out the darkness in Fleck. If Fleck were to be an addict, Quinn would be the drug, and Joker would be the high. Both Phoenix and Gaga establish an excellent chemistry as their characters, but are both obviously limited to the extent to which they can go given the context. As a more realistic portrayal of these characters, and of a comic-book world, these portrayals of Joker and Harley Quinn are a million miles away from that of what we know from previous media incarnations – even with the theatrical musical numbers.

Ultimately, like its predecessor, challenges will be made to this film’s depictions of mental health and related atrocities. However, I foresee that most of the conversation and criticism surrounding Joker: Folie à Deux will be of its musical angle. An ambitious project, but one that doesn’t hit the high notes. Should this be the last that we see of this Joker, then Joaquin Phoenix has successfully reinforced that he is currently the best working actor in American filmmaking.