Arthur Fleck’s stuck in jail for five murders—or actually six, but the cops don’t know about one of them. One of those killings even happened live on national TV. He’s waiting for a trial that’ll decide his fate. His lawyer is trying to argue that he’s mentally ill, splitting between Arthur and the Joker, to get him a lighter sentence. But the deputy district attorney, Harvey Dent, is out for blood and wants him executed.

In jail, Arthur’s guards give him a rough time—mocking and humiliating him—but one lets him join a choir made up of other inmates just to make fun of him further. There he meets Lee, this young woman he falls head over heels for right away because she makes him feel seen and accepted for the first time. But here’s the catch: does Lee like Arthur or is she into the Joker?

Picking up from where the blockbuster hit Joker left off wasn’t easy. Todd Phillips figured out how to do it. He crafted a sequel jam-packed with elements from pop culture that everyone seems to be into nowadays—even if it means risking being cliché—with society’s fixation on fame and mimicking real life as if it’s some sort of reality TV show or budding cult classic movie.

And then there’s Stefani Joanne Angelina Germanotta stepping in as Lee/Harley Queen—yup, that’s Lady Gaga in another iconic role—which was just genius by Phillips when deciding what direction to take next with this story.
Joker: Folie à Deux is kind of like those musicals where people break out into song all the time. Lee’s mostly talking through famous Broadway lyrics, which can be quite something. Meanwhile, Arthur just wants her to chill with all that singing—like many of us do when watching a musical.

The movie dives into how musicals can put on a creepy happy face, pushing everyone to smile and act all cheerful. The movie cleverly connects the idea of forced happiness with unsettling elements like Joker’s creepy laugh and the fake “be happy” mask life often makes us wear—much like the cruel “Happy” nickname his mom gave him.

It doesn’t shy away from the chaos of our world either, touching on real issues like the pandemic, George Floyd, and the Capitol Hill protests, while also giving nods to classics like One Flew Over the Cuckoo’s Nest.” You’ll spot nods to Sonny and Cher-style happy couples and Fred Astaire’s “The Band Wagon,” which pops up in this film. All that music we use to make sense of life? It’s split into tiny bits here as clever commentary amid the confusion about true love’s existence.

Joker: Folie à Deux gets why we’re always trying to look good on social media so others will envy our “perfect” lives—the story we tell anyway. We’re all hoping our smiles make the world grin along with us while keeping us in the spotlight because who doesn’t want their own little shot at narrating life their way?
In this movie, we’ve got Joaquin Phoenix back in the saddle, going deep into the role just like he did in the first Joker film. He’s all about capturing every bit of pain out there. Honestly, he’s so good that he even steals the spotlight from Lady Gaga, who does a solid job showing off her character’s many sides but just can’t match his intensity.

The director mixes things up with a bit of everything—musical vibes, some prison drama stuff, and even some animated moments. Right from the get-go, there’s this big focus on shadows and how they relate to a person’s life—like how fame can totally overshadow someone or how losing a loved one might leave you feeling alone.

Arthur’s lawyer wants him to split into two different people because that’s how she thinks you survive these days—as your public persona rather than who you really are. But unlike everyone else throwing on masks (the literal and figurative kinds), Arthur stands there with none of that protection. He takes life’s hits without much shield but refuses to break under pressure while everyone seems busy hiding their true selves.

From start to finish, Phoenix delivers a heart-wrenching performance that’ll stick with you for sure.
Even when he’s laughing or dancing (his tap dance is amazing) because “It’s showtime!”

People who loved the first Joker might not be thrilled with this new perspective. But they’ll definitely enjoy the scenes where Phoenix channels his iconic character, moving in that awkward yet teasing way we all love. Phillips flips it all around, breaking down the idea of easily imitating him. It’s like Arthur saying “There is no Joker,” turning Tony Stark’s “I’m Iron Man” on its head. And then there’s a cheeky nod with “That’s All Folks,” which both celebrates and pokes fun at the big studio behind the movie.