There has been much discourse of late about the idea of superhero movie fatigue. Too much CGI, no peril, hokey humor, etc. Well this ain’t that. But that might be one of the few plus points of this absolute mess of a movie. Touted as a musical and teased as a Bonnie and Clyde-style thriller, […]
The post Joker: Folie à Deux Review: A Tuneless Musical Even with Lady Gaga appeared first on Den of Geek.
There has been much discourse of late about the idea of superhero movie fatigue. Too much CGI, no peril, hokey humor, etc. Well this ain’t that. But that might be one of the few plus points of this absolute mess of a movie. Touted as a musical and teased as a Bonnie and Clyde-style thriller, Joker: Folie à Deux is neither of those things either. Essentially it’s a courtroom drama without the drama, a grubby prison movie with no point to make, and a romance with no chemistry, investment or characterization. Which is not to detract from the performances of both Joaquin Phoenix and Lady Gaga, who are both excellent and deserved better.
Picking up some time after the events of Joker, Arthur Fleck (Phoenix) is incarcerated in Arkham. Drugged up to the eyeballs, he’s become a model prisoner, exchanging jokes for cigarettes with the friendly(-ish) guard Jackie Sullivan (Brendan Gleeson). But after his on-air execution of talk show host Murray Franklin (Robert de Niro) and his vigilante antics in the last movie, he’s become the face of a disruptive movement, with joker-masked people picketing Arkham Asylum while the press hang out for stories or glimpses of Arthur as he awaits for his trial.
Arthur’s lawyer Maryanne Stewart (Catherine Keener) wants to argue that Arthur has experienced a fragmentation of his personality as initiated by the severe abuse he experienced in childhood. The subway attack in the last movie, the defense argues, triggered all the subsequent violence, and Arthur should be shown leniency because of his mental state. It’s a decent defense, but anathema to his fans who want the Joker to be an anarchic figurehead giving the finger to authority.
While Stewart prepares his case, and he waits for trial, Sullivan convinces the Arkham bosses to allow Arthur to attend a singing group in the minimum security wing. There he meets Harleen “Lee” Quinzel (Gaga). Soon the two are toppling into a fantasy world together, which is manifested in elaborate song and dance routines.
In terms of what actually happens, outside of that fantasy world, the truth is, not much. In fact, were it not for the
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