Todd Phillips and the Joker saga remain a topic of heated conversation, with questions about tone, genre, and the project’s broader ambitions continuing to echo five years after the first film. The initial Joker drew heavily from Martin Scorsese’s work, weaving elements of Taxi Driver and The King of Comedy into a modern portrait of a troubled man. The collaboration with Joaquin Phoenix delivered a global phenomenon, pushing past the $1 billion mark at the box office and earning multiple Academy Award nominations. Phoenix captured the Best Actor Oscar, while the film also secured the Best Original Score, helping to cement its status as a landmark in contemporary cinema evaluation.
After Taxi Driver, Scorsese pursued New York, New York, a love story set against the city’s musical pulse. The saxophonist is played by De Niro, joining forces with Liza Minnelli, and the film blends the gloss of classic Hollywood musicals with a grittier, late New Hollywood sensibility. Produced for about $9 million, it grossed roughly $16 million and faced criticism for a lack of cohesion that left some viewers unsure of its aim.
Phillips’ approach to the Joker sequel, Folie à Deux, reportedly involved a budget increase and a broader spectacle. The follow-up cost notably more than its predecessor and opened with a stronger promotional push, yet it experienced a sharper decline in its second weekend, provoking debate about whether the film stretched too far in search of novelty. Some observers linked the project to a festival-minded marketing push and recalled high‑profile, ambitious projects that did not always meet expectations. The conversation around the film became part of the overall narrative, as commentators weighed its cinematic risks against the pull of evergreen franchise dynamics.
Madness for Two presents itself as a sequel with intent rather than a mere remake. In the first installment, the central figure longs for universal love; in the second, the reality is more complicated, with audiences and critics divided over whether the character remains compelling as a figure of sympathy or as a cautionary mirror. The reception has been mixed, with debates about whether the film sustains a coherent arc or simply revisits familiar ideas. The dynamic between the Joker and his world continues to provoke discussion about morality, influence, and the responsibilities of a villain who captivates a devoted audience while provoking discomfort in others.
The film struggles to settle on a singular musical identity. Those hoping for sweeping song sequences may be disappointed, as much of the runtime leans into close-up intensity rather than grand performances. In some markets, certain on-screen depictions were toned down to fit local standards, underscoring how the film navigates regional sensitivities while retaining its darker mood. The supporting cast, including Brendan Gleeson in a memorable portrayal of a singing guard at Arkham Asylum, alongside actors like Harry Lawtey and Ken Leung, adds texture to a film that otherwise leans on the protagonist’s volatile energy to drive the drama.
There is a sense in which the title’s implication of shared madness is tested by the narrative’s structure. Harley Quinn’s presence, while visually striking, often feels underdeveloped in relation to the central arc, and the film’s balancing act between multiple genre signals sometimes distracts from a singular, cohesive message. When one of the three genres doesn’t land, the result can feel like a misstep that slows momentum rather than a bold, transformative moment. The sequel’s most consistent through-line remains the ambition behind its creation, not the effortless replication of what came before.
What ultimately preserves the project is its willingness to experiment. It is preferable to a safe, derivative entry that merely replicates a popular property. Phoenix’s continued involvement anchors the endeavor, offering a controlled intensity that readers and viewers can trust even when the broader experiment wobbles. There is something rewarding about watching a performer lean into a difficult character and push the film beyond familiar boundaries, even if the overall execution is imperfect. As Scorsese himself has reflected on cinema’s evolving landscape, the enduring resonance of stark character studies remains a powerful reminder of why audiences engage with these stories in the first place. The closing note emphasizes care for oneself and loved ones, underscoring that cinema can be serious business, not a joke.
Original title: “Joker: Folie à Deux”
Premiere date: September 4, 2024
Release date in Russia: 12 October 2024
Duration: 138 minutes
Manager: Todd Phillips
Casting: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Jacob Lofland, Harry Lawtey, Zazie Beetz, Steve Coogan