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During one of the final moments of “Joker: Folie a Deux,” the anticipated sequel that hit theaters this weekend, Joaquin Phoenix begs a character to “please stop singing.” As it turns out, it’s quite likely that most audiences thought that very thing long before they got to that moment in Todd Phillips’ new film. However, that the film is a musical and that the filmmaker has not been afraid to experiment on a grand scale are the most interesting and admirable qualities of this production. The problem is that this and the monumental talent on display fails to mesh and the existence of this cinematic exercise that wants to mix art, commerce, depression, violence and musical.

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Lee este artículo en español.

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It is curious that Phillips and his production team have managed to create a DC film that is destined to leave almost no one satisfied. Those who go to the movies for the performances of Phoenix, who expands and deepens what he did with his Oscar-winning performance, and Lady Gaga need not be disappointed with their work. But be warned that the film never manages to create a narrative that fully supports the efforts of its lead actors.

The conclusion of the titular character’s dramatic arc is particularly problematic and could be construed as a waste of what Joaquin Phoenix has accomplished in this role. His portrayal of Arthur Fleck remains a portrait of the agony of someone who barely has the energy to fight for his mental health. However, Phillips is clearly much more interested in making clear what place this character has within the Joker mythology and his relationship with Batman.

Before we get to that moment, when we see Arthur again, he is incarcerated and awaiting trial for the crimes he committed in the previous film. During some therapy sessions, the protagonist meets Harleen Quinzel (Lady Gaga) with whom he builds a special connection that gives him hope to fight again and reclaim his identity as the Joker.

The film’s musical concept basically emulates the same one used in Chicago. To escape the traumatic events of his life, Arthur imagines his new romance and the development of his trial with musical numbers. The comparison to Chicago does Phillips’ work behind the camera no favors. As a director, his best quality is recognizing that everything in his film revolves around the talents of Phoenix and Gaga.

The other thing that deserves recognition is having the ambition to experiment with formats that simply don’t gel. The mix of elements that stand out with those that simply don’t work results in one of the most pessimistic and risky films to be released by a Hollywood studio in a long time. The intent is easy to admire, but the execution is nothing short of disappointing.

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This content was translated from Spanish to English using artificial intelligence and was reviewed by an editor before being published.