It’s not every day that a sequel can invoke such polarized reactions, but Joker: Folie à Deux has undoubtedly stirred strong opinions. I noticed a repeated sentiment: “Not even Lady Gaga could save the movie,” which left me puzzled. As I dug deeper, I realized that much of the criticism was driven by expectations that might have been misaligned with the film’s unique approach rather than the film’s quality itself.

When Todd Phillips announced the sequel to Joker in June 2022, fans of the gritty original had mixed expectations. They anticipated something akin to a high-intensity, CGI-heavy thriller set in Arkham Asylum, possibly with intense fight scenes. But Joker: Folie à Deux took a different turn. Phillips crafted it as a musical thriller, delving into the complexities of Arthur Fleck’s fractured mind and his relationship with Harley Quinn, played by Lady Gaga (Lee Quinzel). This shift to a musical, focused on psychological depth over action, was perhaps unexpected but also powerful in its portrayal of Arthur’s inner turmoil and his connection to Harley.

The film’s pacing and structure were unconventional. Rather than building toward a single climactic moment, it weaved through Arthur's past and present struggles in an erratic, almost chaotic rhythm that mirrored his mental state. For some, this was disorienting, but for others, it was a refreshing departure from traditional storytelling. The sense of unpredictability contributed to the film’s originality, making it stand out in a genre often bound by formulaic patterns.

Lady Gaga’s portrayal of Harley Quinn was strikingly nuanced, breathing life into Arthur’s complex emotions. Her performance not only complemented but completed Joaquin Phoenix's portrayal of Arthur. This connection between the two characters added layers to Arthur that weren’t fully visible in the first film. Phoenix, as always, brought raw vulnerability to Arthur’s character, capturing the essence of a man on the edge of reality and illusion. Together, Gaga and Phoenix created a haunting dynamic that was as captivating as it was unsettling.

One universally acknowledged triumph of the film was its visual and auditory composition. The cinematography by Lawrence Sher brought each scene to life, using a combination of real-time lighting adjustments and spontaneous, unrehearsed camera movements. Sher’s use of blue tones, often associated with Arthur, interspersed with warm hues during scenes with Harley, subtly underscored her influence on his life. This approach gave the film an almost documentary-like immediacy, while the lighting and composition retained a cinematic elegance, reminiscent of classic musicals but with a gritty, modern twist.

The film’s score, composed by Hildur Guðnadóttir, further amplified the atmosphere. Musicals are typically cheery but on, Joker: Folie à Deux, it takes a dark almost horror turn that most did not expect. The cello, a returning element from the first film, resonated with a sense of looming tension, capturing Arthur’s descent into darkness. While some found the score meandering when listened to independently, within the context of the film, it beautifully complemented Arthur's emotional and psychological journey, creating an immersive experience that was both haunting and mesmerizing.

Ultimately, Joker: Folie à Deux defies conventional expectations, daring to be different in its pacing, genre, and storytelling. The film may not resonate with everyone, especially those expecting a more traditional comic book sequel. Yet, for those open to a journey through Arthur Fleck’s fragmented psyche, this movie offers a uniquely unsettling, deeply personal experience that lingers long after the credits roll.

For me the movie was definitely an 8/10.