Audrey Collins
Contributing Reporter
In 2019 the “clown prince of crime” was inescapable. Director Todd Phillips had made the jump from raunchy stoner comedies to thought-provoking dramas with “Joker” back in 2019, and it paid off in a big way.
Nominated for 11 Academy Awards and winning four (one of those being a Best Actor win for Joaquin Phoenix, who played the titular jester) the film quickly became the highest-grossing R-rated film of all time; a title it lost to this year’s “Deadpool and Wolverine.” Though criticized for its suspicious similarities to other crime flicks and the questionable nature of its messaging, the film was undeniably a massive success.
But as with every success in Hollywood an inevitable question was posed: “What are we going to do for the sequel?” To Philips, the answer must have seemed manifest; “Why, a musical starring Lady Gaga as Harley Quinn, of course!”
The announcement of this new direction was met with mixed reactions both on and offline. Yet on the whole, the consensus seemed to remain the same; “we’ll just have to wait and see!”
Now, almost two years after it was announced, “Joker: Folie à Deux” has been released upon the public, making it immediately clear to everyone unlucky enough to witness it that Todd Phillips really should have tried for another “Hangover” film instead.
A baffling misfire on nearly every level, “Folie à Deux” fails to appeal to even the most diehard DC fans. The film once again follows failed comedian Arthur Fleck, also known as “Joker” (although the film seems intent on showing as little of “Joker” as possible), and his dreadfully dull journey to trial for his crimes against humanity. If by some miracle you’ve forgotten what exactly those crimes were in the five years since “Joker,” fear not.
The film makes sure to continually call back to the events of its predecessor, sometimes showing scenes from the previous film in their entirety. This continued dwelling on the first film’s supposed artistry would be acceptable if “Folie à Deux” had anything new or interesting to add on, but this simply is not the case. “Folie à Deux” doesn’t even have anything to say about its own supposed themes or story arcs, instead finding itself content to ride off the coattails of Todd Phillips’ previous “strokes of genius.”
To say nothing of the “musical” elements of the film – they feel about as unnatural and unimaginative as it gets (and Phoenix’s voice, yeesh! You’d think at least part of the $200 Million budget would have gone to some vocal lessons). The few numbers the film does have are all guilty of the cardinal sin committed by many bad musicals, they fail to move the story along or tell us anything new about the characters, leaving each one feeling as cold and lifeless as an Arkham prison cell.
Lady Gaga’s disappointingly short appearance in the film leaves so much to be desired, both musically and narratively. Gaga plays “Lee Quinzel,” a fellow inmate of Arthur’s who teaches him the power of music- and love. She gets very little screen time to show said “love,” effectively being rendered irrelevant to the film’s central courtroom drama. This invites questions of why someone on Gaga’s level of fame would even bother with a part so small and thankless. Here’s a hint; it’s a number about 8 digits long.
The one silver lining to this whole miserable affair is the genuine skill “Folie à Deux” showcases in its technical categories. It’s a very visually interesting film, implementing a variety of well-composed shots and extremely impressive one-takes. Unfortunately, what little the film has in style is drowned out completely by the stench of the substance, resulting in a cinematic experience that primarily appeals to masochists and masochists alone.
As I sat in the completely empty theater watching this disaster unfold, I had but one thought in my mind, “make it stop.” Todd Phillips and Joaquin Phoenix have taken the praise and goodwill of moviegoers everywhere and crafted a $200 million joke, and much like the jokes told by their aspiring comedian turned singing serial killer, it just isn’t funny.