'Joker: Folie à Deux' Review: A Daring Sequel that Redefines the Comic Book Genre

Todd Phillips' revisionist DC comic book film Joker sparked a blaze of controversy, reached the billion-dollar mark at the global box office, and earned lead Joaquin Phoenix an Oscar for Best Actor. Arthur Fleck, an aspiring stand-up turned psychotic killer, was an everyman antihero for our time: a stumbling loner who murders a celebrity talk show host live on television, spawning an army of demented admirers and causing enormous riots. The film was accused of glorifying violence and perhaps harming the public; Phoenix famously stormed out of a British media interview when asked if the Joker may inspire mass killings.

Joaquin Phoenix and Lady Gaga in 'Joker: Folie A Deux.'

Warner Bros.

However, their frenzied forecasts did not come true. Today, Joker is best recognized as one of the most subversive and creative pictures of the last decade, and its highly anticipated sequel, Joker: Folie à Deux, which premieres in competition at the Venice Film Festival, is just as dark and formally audacious as its predecessor.

Folie à Deux begins shortly after the previous film, with Arthur now imprisoned in Gotham City's Arkham Asylum. He is pitiable, malnourished, and highly medicated into servitude. The plot revolves around the question of whether he is mentally fit enough to stand trial: ambitious district attorney Harvey Dent (Industry's Harry Lawtey) wants him prosecuted, while Arthur's kind, solicitous, and vaguely maternal lawyer Maryanne Stewart (indie stalwart Catherine Keener) believes he deserves sympathy.

Harleen Quinzel (Lady Gaga) is a habitual liar and pyromaniac who meets Arthur in a music rehabilitation class, rapidly takes him off his meds, and encourages him to rekindle his inner malice. Gaga looks like a Manson girl who strayed off the set of Once Upon a Time... in Hollywood, and she plays Harleen with an appealing feline malice.

Arthur and Harleen have a complicated relationship; he is so smitten that whenever they are together, they do elaborate musical performances, channeling everyone from Fred Astaire and Ginger Rogers to Sonny and Cher. Harleen, on the other hand, seemed to be only interested in her new friend's Joker costume, rather than the damaged and fragile Arthur beneath.

Phillips definitely enjoys his role as director. Whereas the original film's imagery and plot beats were inspired by the grungy nihilism of Scorsese films from the 1970s, Phillips takes us on a tour of at least a century of Hollywood. Folie à Deux begins with some creative, Looney Tunes-style animation from Oscar-nominated French filmmaker Sylvain Chomet, then progresses to a Shawshank-esque prison picture, a musical, and a courtroom drama.

Certain story elements remain unsettling. For example, the boundaries between fantasy and reality are not always clearly defined. But generally, Folie à Deux is just as edgy and scary as its predecessor, reimagining modern American cities as terrible powder kegs on the verge of exploding.

The film's gloomy essence is emphasized by its gruesome ending, which defies comic book conventions in favor of psychological depth. Phoenix's performance remains forceful and emotional. The genius of it is that we can't help but care about Arthur, despite his neediness and craziness. Even during the film's most apocalyptic and violent scenes, we are constantly reminded that, beneath Joker's flashy warpaint, lurks small, frail Arthur. Despite the odds, this brilliant and extremely unnerving film becomes a bit of a tearjerker by the end.

'Joker: Folie à Deux' is screening at the Venice Film Festival and will be in cinemas starting October 4th.

Directed by Todd Phillips.

Starring Joaquin Phoenix, Lady Gaga, Harry Lawtey, Catherine Keener, Brendan Gleeson, Zazie Beetz, and Steve Coogan.

Runtime 138 mins