Joker: Folie à Deux comes with high expectations, especially following the gritty, tension-filled success of Joker (2019). This time, director Todd Phillips takes a significant risk by adding a musical element, pairing Joaquin Phoenix’s return as Arthur Fleck with Lady Gaga as Harley Quinn. But while there are moments that shine, the film as a whole feels like a muddled experiment that never fully commits to its boldest ideas, leaving audiences with a sequel that lacks the punch of its predecessor.
Joaquin Phoenix delivers, but something feels off
Joaquin Phoenix’s return as Arthur Fleck is, unsurprisingly, the film’s strongest aspect. His ability to sink into the character’s fractured psyche is still captivating. Phoenix brings a sense of fragility and unpredictability that continues to make Arthur both pitiful and menacing. However, where the first film offered a slow-burn transformation into the Joker, Folie à Deux seems to lack that same depth of psychological unraveling.
This time around, the emotional weight feels less pressing, and Arthur’s descent doesn’t have the same raw, visceral intensity. What’s more, much of the film undoes Arthur’s evolution into the Joker from the first movie, leaving him as the meek, fragile figure we saw at the start of his journey. The Joker’s bold, chaotic persona is largely absent, as Arthur spends much of the film in passive, reactive states. While this seems to warn against idolising public figures like him, it also strips Arthur of the agency that made his transformation so captivating in the first film.
Lady Gaga’s Harley Quinn: charismatic, but underutilised
Lady Gaga steps into the role of Harley Quinn with undeniable charisma. Her presence on screen commands attention, and she brings a captivating mix of vulnerability and madness to the character. Gaga’s Harley is complex—sharp, fiery, and full of potential. She’s one of the film’s brighter spots, injecting energy into scenes that could otherwise have felt dull. There’s an emotional range in her performance that showcases both Harley’s strength and her descent into obsession with Arthur.
However, while Gaga is excellent in her portrayal, the film’s approach to Harley feels overly cautious. In its attempt to distance itself from Margot Robbie’s iconic, wild portrayal of Harley Quinn, Folie à Deux takes the character too far in the opposite direction. Gaga’s Harley is more subdued, lacking the chaotic energy that makes the character so beloved. The result is a Harley Quinn that feels almost too restrained, which leaves you wanting more of her trademark unpredictability and wild spirit. The film seems more focused on redefining her than letting her fully embrace the mayhem Harley is known for.
Musical numbers: a gimmick that doesn’t go big enough
One of the most hyped aspects of Folie à Deux was its musical twist, but unfortunately, this is where the film stumbles the most. The musical numbers feel like an awkward addition, never fully integrated into the overall narrative. Instead of enhancing the story, they often feel like unnecessary distractions. There’s potential in combining the Joker’s twisted mind with musical surrealism, but the execution falls flat.
Rather than being a seamless blend of psychological drama and musical theatre, the film awkwardly pivots between the two genres. This leaves the audience wondering whether the musical numbers were necessary or if they simply detract from the core narrative. It’s a bold move, but one that feels more like a half-hearted experiment than a cohesive artistic choice.
Lacks the tension and energy of Joker
What made the original Joker such a standout was its slow, methodical build-up of tension. Every scene in Joker felt like it was leading somewhere, creating an undercurrent of unease that kept you on edge. Unfortunately, Folie à Deux doesn’t have that same momentum. The pacing is uneven, with some scenes dragging on while others seem rushed, leaving little time for the story to breathe.
Despite Phoenix and Gaga’s best efforts, the film lacks the emotional depth and intensity that made the first one such a powerful psychological thriller. It’s a film with big ideas that just doesn’t fully explore them.
Folie à Deux also relies heavily on the original film and almost feels like more of an epilogue than a standalone. Events and characters from the original are assumed knowledge, so perhaps give Joker (2019) a revisit.
Visually Stunning but lacking
The cinematography in Folie à Deux is, at times, breathtaking—especially during the fantasy musical sequences, where the colours, movement, and surreal style elevate the film’s visual storytelling. These moments feel vibrant and alive, standing in stark contrast to the rest of the film. However, much of Folie à Deux is set in drab, sterile environments like prison cells and courtrooms, which rob the film of the Manhattan/Gotham grit that defined the first movie.
The first Joker thrived on its depiction of Gotham as a grimy, decaying city—a character in its own right. But this sequel loses that gritty texture, leaving the audience longing for the dirty streets and oppressive atmosphere of the original. The sterile settings flatten much of the film’s tension, making the more surreal sequences feel out of place rather than fully integrated into the narrative.
A risky misstep
At the end of the day, Joker: Folie à Deux is a sequel that takes risks, but they don’t always pay off. While Joaquin Phoenix’s performance remains captivating, and Lady Gaga brings something new to Harley Quinn, the film struggles to balance its ambitious ideas. The musical numbers feel out of place, and the narrative lacks the psychological depth that made the first film so riveting.
It’s a movie that could have been a daring, genre-defying spectacle, but instead, it ends up feeling like a mix of intriguing elements that don’t quite come together. For fans of the original Joker, this sequel may leave you wanting more—not in the best way.
Rating: ★★☆☆☆
