It was a no-brainer to greenlight a follow-up after the first Joker raked in over $1 billion, becoming the first R-rated film to hit that milestone—at least until Deadpool & Wolverine came along and edged it out.
When the sequel to the 2019 film Joker, titled Joker: Folie à Deux, was announced, fans were both intrigued and skeptical. That reaction only intensified when people found out it would be a musical. Sure, we’ve seen musical moments in comic book movies before, but to fully lean into it? That hasn’t really been done (yet) in this genre.
In Joker: Folie à Deux, the story picks up two years after the events of the first film, where Arthur Fleck (Joaquin Phoenix), dressed as the Joker, murdered a talk show host (Robert De Niro) live on television, sparking an uprising throughout Gotham City. Now confined to a psychiatric ward and facing the death penalty, Arthur encounters Harleen “Lee” Quinzel (Lady Gaga), a fellow patient with an unsettling obsession with him—or, more accurately, with his Joker persona.
Joker: Folie à Deux Review
I’ll start by saying that this is one of the most unique takes on comic book characters I’ve seen on film. Like the first Joker, Folie à Deux doesn’t follow the typical comic book movie formula viewers are used to. For some, that might be off-putting; for others, it’s a breath of fresh air that breaks away from the norm. When the credits rolled, I found myself just sitting there, trying to process everything I watched. To be honest, I’m still unpacking it. Did I enjoy the overall experience? Absolutely. Did it leave me with that same unsettling feeling as the first one? Without a doubt. I’ll also be treading very lightly on plot details that haven’t already been discussed by director, Todd Philips, seeing that this film doesn’t release theatrically for another month.
Let’s address the elephant in the room: is this movie a musical? The answer is both yes and no. While the first Joker wasn’t a musical, music played a crucial role in Arthur’s transformation into the Joker, with Hildur Guðnadóttir’s haunting score earning a well-deserved Academy Award. In Folie à Deux, she once again cooks with another outstanding score that elevates the film.
The musical elements in this sequel are sparked by the bond between Arthur and Lee. As their relationship deepens, Arthur stops taking his medication and spirals into a hallucinatory world that feels like a twisted take on classic musicals. This setup creates a wild, unsettling narrative that leaves you questioning who’s really in control of the story.
A significant portion of the music is delivered through dialogue, and that occasionally pulled me out of the intense moments happening in certain scenes. While Joaquin Phoenix’s singing isn’t exactly top-notch—and that roughness does add to the chaotic vibe—some of those notes were a bit hard to listen to. It works for the character’s descent into madness, but don’t expect to be banging the songs on Spotify.
Lady Gaga’s Version of Harley Quinn
Although Margot Robbie has solidified herself as THE live-action Harley Quinn of the DC universe, Lady Gaga’s depiction in Joker: Folie à Deux is incredibly strong yet drastically different from any iteration of the character we’ve seen before. While Robbie’s Quinn is characterized by her vibrant, chaotic energy and dark humor taking more inspiration from the Batman animated series, Gaga brings a more grounded and stripped-back softness to her role, and a calculated craze behind her eyes.
Gaga’s Harleen is deeply intertwined with Arthur Fleck’s psyche, exuding a quieter, more menacing presence where her madness simmers beneath the surface instead of exploding outwardly. I think this version of Quinn adds a new layer of complexity to the character, making her a dark mirror to Arthur’s own descent into chaos, and offers a fresh, psychologically intense take on the iconic anti-heroine we all love.
We already know Gaga can sing and bring emotions to a song in a movie—A Star Is Born proved that—but I really appreciated her more subtle and restrained approach in Folie à Deux. She didn’t overshadow Phoenix or steal the spotlight when they performed together, and that restraint added depth to the character. This film further cements that Gaga is more than just a pop star; she’s a legitimate actress. Her chemistry with Phoenix was one of the film’s strongest aspects, which is crucial since their relationship is at the heart of the story.
Phoenix once again delivers an award-worthy performance as Arthur in Joker: Folie à Deux. Just like in the first film, his portrayal is intense and deeply unsettling, but this time, it’s fascinating to watch him fully commit to the Joker persona, grappling with the duality of Arthur and the Joker like never before.
Phoenix’s raw emotions shine through, especially in the musical scenes, where his vulnerability and madness are on full display. To reiterate, Phoenix’s on-screen presence with Gaga was incredible. They make a fantastic duo (and I would love to see them in future collaborations).
The film’s cinematography does a fantastic job of capturing the gritty, oppressive atmosphere of Gotham City, perfectly mirroring Arthur’s battle into madness. Thanks to the musical elements, we’re taken on a journey that explores a wider range of tones, elements, and visuals that stay true to the first film and expand far beyond it. The movie weaves between different styles seamlessly, maintaining the raw, grounded feel of Gotham while immersing us even further into Arthur’s world.
While Joker: Folie à Deux isn’t a flawless film, it retains much of what made the first film so compelling while introducing new elements that allow it to stand on its own. Phoenix and Gaga’s chemistry is electric, feeling organic and deeply resonant. Phillips deserves praise for taking bold creative risks that pay off in unexpected ways. Like the original, Folie à Deux offers a dense and layered experience that demands multiple viewings to fully unpack and absorb all its nuances. I hope studios will push for more R-rated comic book films so we can continue to get more movies like this.
Rating: 8/10