As a seasoned film critic with years of attending premieres and screenings under my belt, I can confidently say that I’ve never experienced such a peculiar opening night for a major studio film like “Joker: Folie à Deux.” The atmosphere was unlike any other, with couples cuddling, people coming and going, and even some inattentive viewers whispering during the movie. It felt more like a bustling airport than a packed theater, which is quite unusual for a highly anticipated sequel.
On a Thursday, an editor from EbMaster expressed interest if someone could spare their Friday night to compose an article about the premiere of “Joker: Folie à Deux”‘s opening night screening. Following a lengthy pause with no volunteers, I hesitantly offered myself. In contrast to watching Joaquin Phoenix become the Joker at the Toronto Film Festival’s world premiere surrounded by journalists and VIPs for Todd Phillips’ previous “Joker,” this time I was among the eager fans. To my surprise, it turned out differently than expected.
On a hunch that the Friday evening show at the Grove would give me an idea about how the “Joker” sequel was performing nationwide, I decided to buy tickets. Surprisingly, 20 minutes before the movie started, there were plenty of empty seats for the standard screening at this bustling AMC Theater. Just a few seats had been taken. But why? It wasn’t until the following day that the film’s poor “D” CinemaScore rating would be released.
Approaching a friendly staff member who seemed unfazed, I inquired about the availability of tickets for the Prime and Dolby screenings. She casually mentioned that those usually sell out quickly, and the prices were a bit steeper, if that was alright with me. Regarding her own intentions to watch the movie, she quipped humorously: “I used to be interested until I read the reviews.” (As a cinephile)
As the Dolby screening was about to start, with previews ongoing, I was surprised to find tickets remaining. I decided to explore possibilities for an IMAX showing in 45 minutes instead. Regrettably, the number of vacant seats was somewhat restricted but still plentiful. Ideally, I would have chosen a seat close to the exit (given that it’s the Joker movie, and the Aurora shooting incident involving a costumed villain is still vivid in our minds). However, a central aisle seat was all that was left.
With some spare time on my hands, I struck up conversations with people leaving earlier showings, managing to snatch a free poster showcasing Phoenix and his co-star Lady Gaga gliding down a steep staircase, much like the 2019 poster’s design featuring the Joker howling towards the sky atop a Gotham City stairway. A group of six USC students had just watched an IMAX version and were more than willing to discuss their thoughts on the film.
One individual named Matthew expressed his preference, stating, ‘I preferred this over Megalopolis,'” (It’s unclear if that’s a positive or negative comment.)
Matthew’s pal, Grace, dropped by for the Lady Gaga performance and left pleased. She remarked, “It was indeed amusing. Whether it was deliberate or not, I found myself chuckling.
As a film enthusiast myself, I, too, observed the scarcity of fellow fans during the screening, with a young chap named Landon standing out, donning a fitting T-shirt that declared, “Only anarchists are attractive.
He commented, ‘I didn’t notice characters resembling those from comic books – think Marvel or DC here. The initial one was filled with subtle hints and nods, like a wink-wink or a hint of Bruce Wayne. This one lacks that element, correct? It seems to attract the typical audience. However, given it spends as much time on dialogue as ‘Lincoln’, it’s essentially the same movie as ‘Lincoln’.
As a film enthusiast, I have to admit, these reviews aren’t exactly sparking hope for a blockbuster film that’s rumored to cost $200 million and aims to appeal to every demographic. To be honest, I share the same skepticism as Matthew when it comes to such a substantial investment not translating into compelling visuals on screen.
He remarks that Warner Bros. essentially provided him with an open-ended budget,” he states. “This project cost approximately $200 million and it spans across just four locations. I was left wondering where the funds were allocated, likely towards Gaga and Phoenix, as well as various sets like jail cells.
Approaching my seat F11, I glanced around the crowd and felt uncertain if I’d wandered into the wrong cinema. Most patrons seemed to be couples – straight, gay, young, or middle-aged – snuggling up together, preparing for a movie that would soon depict a notorious psychopath brutally smashing a judge’s head with a gavel, causing his brains to spill over the bench. It reminded me of an opening night showing of “How to Lose a Guy in 10 Days” and its abundance of couples. There was no sign of Joker costumes, only faces masked by cloth COVID masks.
To the right of me, a pair of men vacate two empty seats following the trailers’ conclusion. However, just as the film begins, another couple, a man and a woman, show up and claim those seats. They stand in front of me, arguing over the seats, causing me to miss a significant portion of the animated opening scene. Once they settle into their seats, they become quite engrossed in each other, engaging in heavy kissing, conversation, and seemingly ignoring the movie entirely. At one point, they were lying together with their chairs reclined, encroaching upon my personal space as the woman (and man’s hand) reached towards me. Initially, I worried about a potential mass shooting, but my concern shifted to contracting a sexually transmitted disease due to close proximity.
As I settled into my seat for the movie screening, the theater, though not quite full, buzzed with a steady flux of audience members. They streamed in and out, making trips to the restroom, the concession stand, or simply strolling up and down the aisles, all within the film’s 2 hour and 19-minute runtime. A handful chose to leave early. The atmosphere was reminiscent of a bustling airport like LAX, where I had recently landed. Yet, this crowd was strikingly subdued compared to others I’ve encountered. There were no eruptions of applause or laughter at the occasional attempts at humor. Instead, an unusual stillness filled the theater.
Before the movie concluded, a gay couple seated near me had promised to share their thoughts on it once “Joker” finished playing. However, as soon as the initial end credits appeared, they hurriedly left the theater along with many others. Sadly, only a handful of people remained to witness the recognition given to the numerous individuals who worked tirelessly on this elaborate production, which was filmed in their very own hometown.
I headed towards the individual who seemed like a possible fan, carrying an empty container of popcorn once the lights were turned on. However, I had underestimated. Tedashii was not a self-proclaimed fanboy by any means; he merely appreciated the initial film and attended for another round of raw nihilism. His general comment was “long but enjoyable.” Yet, even he grappled with his fellow moviegoers and their disregard for the film itself.
Surrounding me were people quietly chattering, embracing, and even kissing. I found myself thinking, ‘Why are you spending over $50 on tickets and snacks to watch this?’ It’s puzzling because the judge gets struck at the back of his head. Immediately after, they resume their whispering. Then he shares a joke, followed by another kiss. I was left bewildered, wondering what unfolds next.
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2024-10-05 20:47