Joker: Folie à Deux, directed by Todd Phillips, marks the next and final chapter in the Joker saga, following the unexpected success of the first film in 2019. The original Joker resonated deeply with audiences, not just as a character study of Arthur Fleck’s descent into madness, but as a gritty portrayal of societal decay, corruption, and anti-establishment sentiment. Arthur’s transformation into the Joker became a symbol—albeit a problematic one—of rebellion for the oppressed. This strong thematic core is what made the original film work both creatively and financially.

However, the sequel, Folie à Deux, struggles to capture the same clarity of vision. While I have nothing against musicals as a genre, this installment seems torn between two contrasting directions, and this indecision becomes its undoing. It’s evident from the start that the film doesn’t have the same sense of purpose as its predecessor. Where 2019’s Joker knew exactly what story it wanted to tell—a raw, nihilistic journey—the sequel seems confused about its identity. Is it a musical or a dark, anti-hero narrative? Unfortunately, it tries to be both and ends up excelling at neither.

Part of the problem lies in the fact that Todd Phillips’ Joker was initially conceived as a standalone movie, which makes sense given its self-contained arc. The original achieved its goals, telling a complete story about the creation of one of the most infamous villains in comic book history. Yet, as often happens in Hollywood, the temptation to capitalise on success is too great. The sequel feels more like a corporate cash grab than a necessary continuation. It attempts to expand the narrative but lacks the depth and focus that made the first film so compelling.

That’s not to say the film is without its merits. Both Lady Gaga, who portrays Harley Quinn, and Joaquin Phoenix, reprising his role as Arthur Fleck/Joker, deliver powerful performances. Their portrayals are deeply nuanced, with moments of emotional intensity that remind viewers of the talent behind the camera and on screen. Unfortunately, even these performances can’t salvage what ultimately feels like a muddled and incoherent film. Folie à Deux is caught between two worlds, trying to juggle its musical elements with its darker narrative themes, but in the end, it falls short on both fronts, leaving audiences with a beautifully acted yet thematically confused sequel that lacks the impact of its predecessor.

Despite its shortcomings, Joker: Folie à Deux offers glimpses of what could have been a worthy successor, with standout performances and moments of brilliance buried within its chaotic narrative.

P.S. My Letterboxd handle is @BhumikGrover.