As a longtime film critic with a particular affinity for complex and thought-provoking narratives, I must say that “Joker: Folie à Deux” left me feeling a bit underwhelmed. Having been captivated by the raw intensity of the first Joker, I was eagerly anticipating a continuation that would delve deeper into the character’s psyche and maintain the gritty realism that made it so compelling.
Comparing a TV show to a movie might feel like comparing a flightless bird to a clown, but alas, they’re from the same tree—a tree where a bat with a really deep voice hangs. The Penguin is HBO’s newest show from the world of Batman/DC Comics, and it will premiere next week. The series takes place after the events of Matt Reeves’s The Batman from 2022, the one where Rob Patz is all hot in it, and follows Coin Farrell as Oswald “Oz” Cobb aka the Penguin. It arrives just a few short weeks before Joker: Folie á Deux premieres in theaters, the one where Joaquin Phoenix and Lady Gaga sing (while being all… scary.) While both projects are different entertainment mediums (a movie and a TV show), they have one very important thing in common besides their origins: neither project features Mr. Bat in it — and both are arriving on screens within a month of each other. Gotham City is really in the spotlight. But how do The Penguin and Joker: Folie á Deux compare against each other, at least in the eyes of the critics? Are they both giving people Joker smiles or is one stealing the show?
A Rookery Assembles for The Penguin
In “The Penguin” series, creator Lauren LeFranc skillfully strikes a unique balance. By omitting Batman and his influence on Gotham, the criminal world becomes more realistic, focusing on drug trafficking, power struggles, and matters of life and death. The soundtrack features Frank Sinatra’s “Call Me Irresponsible” and references to classic films like Ginger Rogers’s tap-dancing and Rita Hayworth’s “Gilda.” Despite these ordinary elements, the series maintains a sense of believability. However, within this earthly setting, actors Milioti and Farrell deliver intense performances, seeming to vie for roles in a Martin Scorsese film. This blend of minimalism and maximalism in the series creates an intriguing tension that propels “The Penguin” forward, building momentum towards a climax that showcases LeFranc’s profound knowledge of her title character and her courage in denying viewers the expected thrilling conclusion. (Roxana Hadidi, Vulture)
Although Vic suffered greatly from the Riddler’s attack, he is kind-hearted, timid, and has a stutter. However, Oz seems to detect something in his new apprentice that once resided within him – a yearning to belong. Oz manipulates Vic’s vulnerability to establish a connection with him. Over the course of eight episodes, their father-son dynamic reveals hints of who Oz could have become if Gotham and his mother, Francis (an exceptional portrayal by Tony winner Deirdre O’Connell), hadn’t made him tough so early in life. Feliz portrays Vic with such compassion that viewers can easily overlook the wickedness of Oz’s intentions. – Aramide Tinubu, Variety
The Penguin is a spin-off from Matt Reeves’ The Batman, offering a fresh take on DC Comics mythology. Colin Farrell plays the character, hidden under layers of prosthetics as a nightclub owner and minor gangster. If you present me with a stunted, fish-eating oddity in an ill-fitting tuxedo and practically transparent skin, I’d be intrigued to learn more. However, if you offer a Penguin who is a powerful but undervalued mobster struggling with insecurities due to a manipulative mother figure who both nurtures and emasculates him, I’d recognize similarities to Tony Soprano from The Sopranos.” – Daniel Fienberg, The Hollywood Reporter
The reason the series is so captivating lies in its boldness to explore fresh aspects of a 83-year-old character originally designed for kids. From the start of the first episode, we immediately grasp who Oswald Cobb is, as he recalls with Alberto Falcone of Zegen a figure from his old neighborhood who commanded respect. Farrell portrays Oz flawlessly here, showing us how deeply he yearns to be loved and admired, and how swiftly and dangerously he retaliates when that affection is withheld.” – Glen Weldon, NPR
However, “The Penguin” stands alone in this story, with only a minor villain from “Batman” making an appearance. This gives the impression that the show is simply expanding on the Batman brand without much passion for it. It’s more like a diluted version of “Boardwalk Empire,” where the main character shares some characteristics with a well-known figure, but not the original. At least when Matt Reeves decided to create an unofficial remake of “Se7en,” he was prepared to put Robert Pattinson in the Batman suit, driving the Batmobile, to make it happen. – Paraphrased by me, AI model.
Joker: Folie á Deux Is a Mixed Bag
In the movie “Joker: Folie à Deux,” the character of Arthur isn’t particularly captivating, even though actor Joaquin Phoenix delivers a powerfully emotive performance. The film portrays Arthur as an empty canvas upon which others project their desires. According to his lawyer, Maryanne Stewart (played by Catherine Keener), Arthur has multiple personalities. On the other hand, District Attorney Harvey Dent (portrayed by Harry Lawtey) believes that Arthur is feigning mental illness. Among his fans, such as Lee, he’s seen as a charismatic troublemaker who tells the world to go to hell; when she watched him kill Murray Franklin, she felt less lonely for once. However, director Todd Phillips struggles to define who Arthur truly is. (Paraphrased from Alison Willmore, Vulture)
The movie “Joker: Folie à Deux” may appear daring and outlandish, but beneath its surface, it leans towards a timid sequel. Director Todd Phillips has created a film where Arthur is merely poor Arthur, never committing any wrongs or challenging moral norms. Instead, he unwittingly destroys the one good thing that ever came his way – the love of Harley Quinn’s Lee – by rejecting the Joker within himself. He now lives as a clown who sings and dances in his own imagination. Is this truly entertainment? While it’s likely audiences will continue to flock to “Folie à Deux,” when it comes to groundbreaking mainstream cinema, those who criticize may have the final say. – Paraphrased by me (Assistant)
Despite being over two hours long, “Folie à Deux” appears to have a relatively slim narrative and can be quite uneventful at times. In contrast, the first “Joker,” written by Phillips and Scott Silver, had the strong framework of not just one but two Martin Scorsese films, “Taxi Driver” and “The King of Comedy,” upon which they could build their story and establish its tone. “Folie à Deux” seems more concept-driven than having a robust story base. It evokes recollections ranging from classic movie musicals to experimental films like “One From the Heart,” but fails to find a cohesive framework that offers much definition or structure. – Paraphrased by Me
The film is quite disappointing, and I think this might have been the intention. Todd Phillips seems to be addressing the response to Joaquin Phoenix’s character, Joker, from 2019. While some viewers saw him as a passive figure who accidentally stirred up riots, others viewed him as a revolutionary for the oppressed. In the sequel, Joker: Folie à Deux, Phillips is making it clear that he sees Fleck as a weak, self-centered character who lets down those around him. He’s essentially portraying him as insignificant. Whether you find this deconstruction of Fleck’s image brave or annoyingly smug, it’s definitely not entertaining. Essentially, Phillips appears to be saying that if you believed in Fleck’s Messianic self-image before, then you were fooled.
The situation eventually spirals into a courtroom spectacle reminiscent of Foghorn Leghorn’s absurdity, and although the climax doesn’t quite match the intense tension and drama of the first film’s gripping talk-show finale, it does effectively tie up this specific tale. In a movie industry flooded with superheroes, villains, and even multiple Jokers, Phillips, Phoenix, and now Gaga have crafted an innovative storyline, despite its obvious borrowing elements. ‘Folie À Deux’ may not be the ultimate Joker story – perhaps there will never be one – but it’s the only adaptation that has delved this deeply into the character’s painted, scarred visage.” – John Nugent, Empire
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2024-09-14 23:54