Top 10 Worst Things about Joker: Folie à Deux

With most comic book adaptations setting up cinematic universes, the first “Joker” felt refreshingly self-contained. At the same time, many were interested in seeing Joaquin Phoenix reprise his role as Arthur Fleck. WatchMojo even made a video entitled, “Why We Need a Joker Sequel.” Careful what you wish for, huh? While we still think there was potential for a “Joker” follow-up, “Folie à Deux” does little to advance Arthur’s story. He spends most of the film in cells and courtrooms, recounting what happened in the previous movie. Phoenix and director Todd Phillips went into “Joker” with a one-movie mindset. The successful outcome opened them up to doing a sequel, but “Folie à Deux” plays more like a 138-minute epilogue we didn’t really need.

Tell us if this sounds familiar. A high-profile trailer drops, one moment goes viral, and then it isn’t even in the finished product. “Joker: Folie à Deux” is the latest movie guilty of mismarketing. Lady Gaga fans, in particular, were disappointed that some of her most heavily advertised scenes were omitted. Namely, the clip where Arthur and Lee storm down a flight of stairs, recreating the first film’s iconic moment, is nowhere to be found. It sounds like a nitpick, but this scene’s absence highlights a larger problem. The shot epitomized the trailer’s promise of Gotham’s most chaotic couple raising hell together. Yet, for a title that translates to “madness for two,” Lee feels underutilized with moments like this left on the cutting room floor.

Part of what made “Joker” such a fascinating character study is that it didn’t spell everything out for us. It inspired numerous think pieces with some wondering if the whole movie was Arthur’s delusion. There’s arguably still merit to that theory, but “Folie à Deux” seems more conclusive in what’s real and what isn’t. Not enough about Arthur’s psyche is left open to interpretation. The fates of several characters are also revealed. Although it’s interesting seeing things from Sophie’s point of view, knowing that she survived makes the previous film a little less chilling. “Folie à Deux” isn’t completely devoid of ambiguity with a few plot points going unresolved. Unlike the first film, though, these unanswered questions won’t be leaving us up at night.

We were confused yet intrigued when it was announced this sequel would be a musical. We were even more confused when Gaga said, “I wouldn’t necessarily say that this is actually a musical.” Herein lies the issue. For “Folie à Deux” to work, it needed to go all in on the musical angle. Think “Chicago” or “La La Land,” which embraced fantasy while staying grounded in reality. The fantasy element is largely missing here, restricting most numbers to gritty locales with limited spacing that aren’t visually interesting. Occasionally, there’s a colorful set piece like the Hotel Arkham rooftop dance, but not enough time is spent in Arthur’s dream days. Musicals have the power to transport characters, yet Arthur rarely leaves the confines of his prison.

With Arthur Fleck standing out from past versions of the Joker, we were curious what other prominent Gotham residents might be like in this universe. “Folie à Deux” introduces a couple of recognizable names only to do nothing with them. Harvey Dent leads the prosecution, but the character receives no development. The most we get is a hint that he’ll become Two-Face following an explosion. Even then, the damage doesn’t look bad enough to constitute a villain origin story. While Gaga is given more material as Harleen “Lee” Quinzel, she also gets sidelined. Turning Lee into an obsessed fan who idolizes the Joker had promise. Since we rarely see things from Lee’s perspective, though, she never becomes much more than the object of Arthur’s affection.

Delivering his closing argument, Arthur claims the Joker was never real, in turn alienating his followers. We also started to lose interest in Arthur around this point. This is primarily because Arthur’s sudden turn doesn’t feel earned. Ricky’s death in the previous scene prompted this decision, but the film didn’t spend much time developing his friendship with Arthur. When Ricky dies, it doesn’t leave much of an impression on the audience and we don’t believe it would profoundly influence Arthur either. It might’ve made more sense if Arthur’s turning point was his revelation that Lee is in love with Joker, not the man behind the makeup. This would put Arthur at odds with his alter ego, making his ultimate choice in court more impactful.

Arthur Fleck represents what happens to a person when society pushes them too far and their mental health goes unchecked. At least that was the intent. Some audiences walked away from “Joker” idolizing Arthur, dressing up as him at protests. Commenting on the audience’s response to the first film is a compelling idea, but “Folie à Deux” doesn’t add much to the conversation. Part of that’s because we don’t get to know Arthur’s supporters other than Lee. Rather than analyze why people related to Arthur, Phillips seems more interested in shaming fans who viewed Joker as a symbol. If this sequel isn’t for the first film’s admirers and isn’t likely to win over newcomers, who is it for? Todd Phillips, we guess.

We could forgive the dull settings and lack of choreography if the musical numbers delivered in the vocal department. Since Joaquin Phoenix previously played Johnny Cash and Lady Gaga is… well, Lady Gaga, this is one area where the film should spring to life. Phillips went out of his way to make actors sing off-key, however. The film aims for a “rawer, more unstable sound.” This might be faithful to the characters, but there’s only so much bad karaoke the audience can endure. It would’ve said more about Arthur’s mental state if he sounded phenomenal in his head. Even in his wildest fantasies, though, he makes Gerard Butler sound like Michael Crawford. If characters are gonna burst into song, fully commit to being a musical.

Phoenix is unlikely to return for a third film, as “Folie à Deux” ends with another inmate stabbing Arthur - presumably to death. As Arthur puts on a happy face, the inmate gives himself a pair of scars, suggesting he’ll take up the Joker mantle. On one hand, this cleverly conveys how Arthur created something beyond his control with madness transmitting to another person. At the same time, this ending left us feeling nothing. Maybe that was the intent, but the ending plays like the Mandarin twist in “Iron Man 3” on a grander scale. We don’t care about this new Joker. We spent two movies getting invested in Arthur Fleck and this ending seems anticlimactically hostile toward anyone who saw something in the character.

Say what you will about the “Joker” movies, but nobody can deny they took big swings. The first film’s risks paid off, resulting in the studio granting Phillips unchecked creative control with the sequel. Although this backfired, we appreciate that Warner Bros. and DC took a chance. It’ll probably be their last for a while. With “Folie à Deux” being a disappointment, the studios are inclined to lean on what’s worked in the past, guaranteeing more input from executives and “superfan” focus groups. Even if “Folie à Deux” didn’t entirely work, we want to see movies experiment and push boundaries. For the foreseeable future, we can expect Hollywood to play it safe with movies that seek to please everyone, yet don’t leave a lasting legacy.

Do you think “Joker: Folie à Deux” is actually an unsung, misunderstood masterpiece… or are you in the hate-it camp? Let us know in the comments!