Joker: Folie à Deux (2024)

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The Joker is one of the most iconic and complex villains in comic book history. From Cesar Romero’s campy portrayal to Heath Ledger’s chilling performance, we’ve seen many interpretations of the Clown Prince of Crime. In 2019, Todd Phillips gave us Joker, a grim origin story reimagining the character as Arthur Fleck, a struggling comedian and mentally unwell man who descends into madness. Now, in Joker: Folie à Deux, Phillips returns with a musical twist and the introduction of Harley Quinn.

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Set two years after the events of Joker, Arthur Fleck (Joaquin Phoenix) is now a subdued inmate at Arkham State Hospital, enduring cruel treatment from the head guard (Brendan Gleeson) and his cronies. On the cusp of a murder trial – with a death sentence looming – he encounters Harleen “Lee” Quinzel (Lady Gaga) in the low-security wing of the facility. Their instant connection encourages Arthur to embrace his Joker persona once more, stop taking his medications, and abandon the split personality defense his attorney (Catherine Keener) has developed. As Arthur grapples with his identity, Lee’s obsession with the chaotic Joker complicates their relationship, ultimately leading her to walk out on him after he renounces his Joker identity in court.

What should have been a fresh take on the Joker-Harley relationship instead reveals the film’s biggest flaw: it doesn’t know what it wants to be. Each musical sequence halts the narrative and serves no real purpose, with outdated song choices that fail to resonate with modern audiences. Rather than enhancing the shared psychosis between Arthur and Lee, the songs feel like random, jarring interruptions. The monotonous courtroom scenes take up about 80% of the runtime but add little to the plot, especially since Arthur has no real chance of being found innocent. The film is dragged down even further as it awkwardly straddles multiple genres – comic book movie, love story, courtroom drama, and musical – failing to master any of them. By attempting to be all these different things, it ultimately isolates fans of the first film, so who, exactly, is the intended audience for this movie?

Even strong performances can’t save this Joker sequel from feeling aimless. Joaquin Phoenix, who won an Academy Award for his portrayal in the original film, captures Arthur’s nuances again, but the film drags him along an unnecessary redemptive path, making this Joker seem oddly apologetic. Arthur feels guilt for lashing out, which detracts from the chaotic nature of the character we saw at the end of the previous film. Despite brief moments of intrigue between Phoenix and Lady Gaga, their chemistry isn’t enough to carry the story. Although Gaga’s casting is inspired, her talent feels underutilized, and the love story lacks depth. In the end, the film meanders and betrays its premise with a final scene that dismisses Arthur’s journey and the Joker’s legacy.

Joker: Folie à Deux just feels like a waste of time. For a film supposedly centered around the Joker, there’s almost none of the iconic villain in it at all. There is exactly one scene where Arthur begins to slip back into his Joker persona. In this daydream, he envisions Lee by his side, encouraging him to “give the people what they want.” Arthur then unleashes chaos, killing several people in the courtroom while Lee dances around in true Harley fashion. But it’s not enough, and one has to wonder if Phillips ever had a clear vision for the character or where to take his story.

I welcomed the chance to experience the shared madness of the Joker and Harley Quinn – what should be their “folie à deux” – and to see them embrace chaos together, wreaking havoc in a way that captures the true essence of their unique bond. Heath Ledger’s portrayal of the Joker had an unhinged nature that defined his character, making every moment unpredictable and thrilling. One can’t help but speculate how different things might have been if Ledger were still alive, perhaps leading to a more authentic depiction of the Joker alongside a Harley Quinn of his own, instead of this peculiar series of films that completely miss the essence of who the Joker truly is.