Watch Free: Joker: Folie à Deux
Joker: Folie à Deux, the much-anticipated sequel to Todd Phillips' 2019 Joker, brings back Joaquin Phoenix as the infamous Arthur Fleck. While the first film divided audiences with its grim, Scorsese-inspired depiction of the DC supervillain, the sequel takes a different approach—this time as a musical. Despite its intriguing premise and a strong supporting cast, the film ultimately feels repetitive, claustrophobic, and laborious, much like its predecessor.
The original Joker positioned Phoenix’s Fleck as a twisted blend of Travis Bickle from Taxi Driver and Rupert Pupkin from The King of Comedy. Though I found it overhyped, it won critical acclaim and awards, though often for its “comedic” elements that, ironically, lacked any real humor. Now, Folie à Deux continues this dark, brooding tone but adds musical sequences, offering a fresh structure and some much-needed variety.
One major improvement is the addition of Lady Gaga as Harley Quinn (Harleen Quinzel), the disturbed psychiatric patient who meets Arthur in a music therapy class at Arkham Asylum, where he’s awaiting trial for five murders. While Gaga’s performance lacks the emotional depth she brought to A Star is Born, she infuses Quinn with a manipulative, chaotic energy that hints at more complexity than the film explores. Their twisted love story adds an intriguing dynamic, though the film never fully commits to examining the narcissism at the heart of their relationship.
The movie’s opening sequence is a standout—a satirical Looney Tunes-style recap of Arthur’s story so far that leads into a thrilling first act, set in the oppressive prison environment where Arthur now resides. The supporting cast shines here, with Brendan Gleeson as the prison guard, Catherine Keener as Arthur’s defense lawyer, and Steve Coogan as a tabloid TV host. But the momentum fades as the film progresses, bogging down in repetitive scenes inside the Gotham prison. Phoenix and Gaga are often kept apart, and Phoenix’s portrayal of Arthur remains forceful but one-note, much like in the first film.
Harley Quinn’s introduction brings a spark to the story, but the film’s setting—the grim confines of Arkham—stifles much of the potential excitement. Arthur’s defense lawyer, Maryanne Stewart (Keener), attempts to argue that his traumatic childhood warrants psychiatric care, while District Attorney Harvey Dent (Harry Lawtey) pushes for the electric chair, claiming Arthur is fully aware of his actions. Meanwhile, Arthur is torn between following the insanity defense for survival and embracing his Joker persona, which has granted him celebrity status and a twisted sense of love with Harley.
Gaga’s performance offers a glimmer of hope for more exploration of Harley Quinn’s role in the DC universe. She brings a sly, unpredictable malice to the character, making her a fascinating counterpart to Arthur. However, the script doesn't give her much room for development, leaving her character feeling underutilized.
As the film drags on, the mythic significance the story aims for begins to feel more forced than earned. While Folie à Deux offers moments of brilliance and strong performances, it ultimately gets bogged down in its own self-importance, leaving viewers restless during its long, drawn-out final act. Gaga’s electrifying presence hints at the possibility of a Harley Quinn spinoff, but for now, Joker: Folie à Deux remains trapped in the shadow of its predecessor, delivering more of the same with only a few moments of genuine surprise or depth.
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