IronWatcher’s review published on Letterboxd:
Watched in the cinema (150th visit in 2024)
Is there more than one Joker? Is it all in Arthur Fleck's head? Is Joker even Batman in the end? In addition to the many other merits of "Joker", there are also some wonderfully wild theories that could be spun about this movie. I would venture to predict that "Joker: Folie à Deux" is somewhat less productive for such fan theories. And this is despite the fact that the sequel is more impetuous than its predecessor. But it explains a lot, including things that don't need any explanation (anymore). Particularly in the second third, which takes place in court, the film dwells on events from the first part for an unnecessarily long time. This is not to its advantage, as it exposes itself to direct comparison - a duel that it can only lose.
After all, "Joker: Folie à Deux" subverts the audience's expectations a few times - whether that's a good thing or a bad thing. For spoiler reasons, I won't go into detail about these story twists. Just this much: even if the script doesn't reach the quality of its predecessor, in its best moments the sequel still manages to conjure up the oppressive mood of a society on the brink of collapse. Joaquin Phoenix, who once again gets everything out of this role, plays a major part in this. He portrays his Joker somewhere between demonic villain and pitiable outsider. And he always convinces with skin and hair.
In terms of staging, Todd Phillips' film is surprisingly restrained at first. After a cartoon intro - a nod to the character's roots - he takes plenty of time not only to show Arthur Fleck's new everyday life in Arkham, but also to introduce the supporting characters: Catherine Keener as a lawyer; Steve Coogan as an interviewer; Brendan Gleeson as a prison guard. By contrast, Lady Gaga as the Joker's new love interest receives relatively little introduction: it's pretty quick from the first furtive exchange of glances to the first musical vow of love.
Yes, "Joker: Folie à Deux" is a musical; a jukebox musical that reinterprets existing songs. Of course, these are not current pop hits, but mostly classics from the swing era. This is entirely appropriate, as the bouncy rhythms fit in very well with the dark, upbeat theatricality that characterizes their performances. It is also impressive how Hildur Guðnadóttir's great musical leitmotif is woven into and between these musical numbers. Despite their actually cheerful content, the latter always seem a little creepy.
Vocally, the trained singer Lady Gaga is superior to her counterpart Joaquin Phoenix, but Phoenix's songs work better on the emotional side. This is also because his character is much better fleshed out than Lady Gaga's, who gets a little too little screen time here. But what is not, can still be. The path for a spin-off certainly seems open.
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