Director: Todd Phillips
Screenplay: Todd Phillips, Scott Silver
Cast: Joaquin Phoenix, Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Shea Whigham, Bill Camp
Running Length: 122 minutes
Synopsis: Forever alone in a crowd, failed comedian Arthur Fleck seeks connection as he walks the streets of Gotham City. Arthur wears two masks – the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he’s part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Review: It’s nearly impossible to really “enjoy” the viewing experience of Joker – Todd Philips’ origins story of the titular DC/Batman supervillain is unrelentingly grim and dark, and never eases up on the mood through its 2-hour running time. It’s a little too self-important for its own good (literally and ironically begging the iconic question from a previous iteration of the Joker: why so serious?), but remains an engrossing watch nonetheless, especially for Joaquin Phoenix’s very impressive performance as the Joker.
Heath Ledger’s menacing turn as the Joker stands as the defining portrayal of the murderous clown, but Joaquin Phoenix comes very close to supplanting that position. Given that there has never been a whole movie devoted to the Joker, Phoenix gets the upper hand in his ability to flesh out the character to a greater and deeper extent, though this is not always to his advantage.
It’s a very remarkable physical performance – Phoenix shed an enormous amount of weight for the role, and makes full use of his emaciated physicality, at times contorting himself into seemingly impossible positions. There’s a constant sense of his Arthur Fleck being slightly askew, both mentally and physically, and Phillips makes great use of this to present Fleck as an unreliable narrator going down an irreversible path. If one were to nitpick, however, it is too forceful a performance at times, when nuance and subtlety would have served the role better. Still, there is no doubt at this time that Phoenix will be one of the front runners come awards season early next year.
Joker also boasts excellent production design across the board. Set in 1981, the attention to “period” detail is immaculate, and the film is intentionally designed to have the look of early Scorsese films (particularly Taxi Driver and The King of Comedy, which Phillips borrows liberally from). I can unreservedly recommend watching Joker in IMAX, as the film fills the IMAX screen throughout, and is really the only format where one can appreciate the amazing cinematography by Lawrence Sher in its full glory.
Unfortunately, on the script front, Joker is somewhat more problematic. Ignoring the controversies that have arose prior to the film’s opening, where it was accused of glorifying violence (it doesn’t) and potentially leading to copycat behavior (highly unlikely outcome, honestly), Joker still has a rather lopsided script. While one can understand that the film needs to justify Fleck’s descent into depravity, there are times where the proceedings get a little too lopsided. The film veers dangerously close to parody at times, which is clearly an unintended effect. The entire subplot of Murray Franklin and his talk show doesn’t work for me – though it’s obviously an homage to De Niro’s Rupert Pupkin in The King of Comedy, much of how this particular subplot unravels is an anachronistic “cheat”, allowing a video to “go viral” in the days where there is no such thing as the World Wide Web. That it eventually becomes one of the most important plot threads simply exacerbates matters.
Despite its flaws, Joker still warrants a trip to the cinema – it’s a visceral, uncompromising film with a very powerful central performance that may not necessarily be something easy to watch, but assuredly will be a movie experience that will stay with you for quite some time to come.
Rating: * * * (out of four stars)