Joker

REVIEW:

Joker (2019), directed by Todd Phillips and starring Joaquin Phoenix, can be summed up in one sentence: This is a good movie, but it is not a good Joker movie. With the release of Joker: Folie à Deux later this week, I thought it was the perfect time to revisit the first film. As a big Batman fan, my biggest issue with Joker is its timeline. It takes place before Batman’s emergence, and that bothers me because you can’t have one without the other. The Joker, as the “Clown Prince of Crime,” is incomplete without his arch-nemesis. If you’re expecting a film that delves into the Joker’s chaotic relationship with Batman, you’ll leave disappointed.

This iteration of Joker is far from the chaotic criminal mastermind we know from comics, animated series, or previous films. In fact, the movie would have worked better as an original film, divorced from the Batman lore entirely. If Gotham, the Wayne family, and all Batman references had been removed, this could have been a compelling, standalone story about a man grappling with mental illness, who spirals into madness because of a cruel and indifferent society. It wouldn’t even need to borrow the “Joker” title to be successful. Todd Phillips himself, in the Blu-ray special features, admits he wanted to create a character study that people would want to watch, using the Joker IP to get them into seats.

Despite the unnecessary ties to the Batman universe, the film is undeniably captivating. The premise of a mentally ill man gradually losing control and descending into violence is interesting on its own. Joaquin Phoenix delivers a breathtaking performance as Arthur Fleck. The torment in his eyes, particularly during the scenes where he can’t stop his uncontrollable laughter, is difficult to watch. At first, you feel sympathy for him, but as the movie progresses, that sympathy gives way to unease. His transformation into a figure of violence is subtle but powerful.

The film does an exceptional job of highlighting Arthur’s delusion and isolation from society. Little moments, like when Arthur laughs in a comedy club before the punchlines and ahead of the audience, show just how out of sync he is with the world around him. This is not a film about a criminal mastermind but rather a character study of a man disconnected from reality. The score heightens the tension, its haunting and unnerving notes underscoring Arthur’s journey. Watching him walk out for his failed stand-up routine is painful, not because it’s funny, but because it’s deeply embarrassing.

One aspect that didn’t sit well with me is the portrayal of Thomas Wayne. Here, he’s painted as a rich, arrogant figure, which feels off for a character who’s usually depicted as using his wealth for the good of Gotham. This portrayal seemed like a forced attempt to fit into the film’s darker narrative, but it ultimately undermines the more nuanced aspects of the Wayne family’s traditional role in Gotham. It felt like a cheap shot at a beloved figure in the Batman mythos.

Joker is undeniably dark and deals with heavy subject matter, such as child abuse, mental illness, and the mistreatment of society’s vulnerable. While there isn’t an overwhelming amount of violence, when it does appear, it hits hard. This isn’t a comic-book movie in the traditional sense; it’s a disturbing reflection on how society can neglect and push someone to the brink. As a standalone character study, it’s fascinating. As a Joker movie? It doesn’t quite fit the bill.