The Nightmare of ‘Joker: Folie à Deux’: A Flop That Has No Laughs

In a shocking turn of events, the much-anticipated sequel, Joker: Folie à Deux, starring Joaquin Phoenix and Lady Gaga, is facing a tumultuous reception among audiences and critics alike. Reports indicate that the film is on track to lose a staggering $200 million at the box office, leaving many to question what went so terribly wrong for a follow-up to one of the highest-grossing R-rated films in history.

Exploring the darkness of Gotham once more.

During a recent appearance on The Joe Rogan Experience, actor Tim Dillon, who portrayed a guard at Arkham Asylum in the sequel, didn’t hold back his disdain for the film, labeling it the “worst film that has ever been made.” Dillon went on to elaborate, stating, “It has no plot,” a sentiment echoed by his fellow cast mates, who reportedly shared concerns on set, joking, “This is gonna bomb, man.”

The film, which again features Phoenix in the iconic role of Arthur Fleck, is structured around his time spent on trial, showcasing a grim narrative intertwined with musical elements that have polarized fans. Unlike its predecessor that captured the complexities of the character and his descent into madness, the sequel’s pivot towards a musical genre—primarily composed of pre-existing songs—left many feeling disconnected. The reviews affirming its dismal reception further amplified when CinemaScore polls yielded an unsatisfactory ‘D’ grade from audiences, which is particularly alarming for a franchise of this stature.

Dillon was explicit about his thoughts on the film’s direction, suggesting that director Todd Phillips’ own hubris may have significantly contributed to its failure, presuming fans would embrace his creative choices regardless of their validity. He threw shade at the film’s intent, indicating it was an attempt to counteract criticism that the original Joker appealed to “the wrong kinds of people.”

“If that’s true, it’s the most immoral thing I’ve ever seen in my life,” Dillon remarked, highlighting his disappointment given the film’s extensive budget. “Just make a good movie.”

These candid remarks reflect a broader sentiment amongst many critics and fans who expected more than what Folie à Deux delivered. Even with its theatrical release underway, the film’s chances at box office domination have dramatically faltered compared to the original, which surpassed $1 billion. Its premature demise has left the industry shaking its head at the miscalculations involved in creating this sequel.

Despite the overwhelming negative backlash, some figures choose to stand by the film. Notably, renowned filmmaker Quentin Tarantino praised the film on the Bret Easton Ellis Podcast last month, asserting that its aim was to incite anger among comic-book fans and industry stakeholders alike. Tarantino provocatively stated, “Todd Phillips is the Joker…he’s spending it like the Joker would spend it,” suggesting a rebellious flair in Phillips’ creative process.

Directorial perspectives on the controversial sequel.

The disconnect between Dillon’s experience and Tarantino’s appreciation underscores the film’s divisive nature. For every actor voicing concerns, there seems to be a director eager to applaud what he perceives as an innovative take on the genre. However, for audiences left bewildered by the absence of a coherent narrative, Joker: Folie à Deux seems to fade into the background of critical and commercial failure.

As we move forward, one can only speculate what this significaFor the DC cinematic universe, a franchise that continues to struggle with its identity amidst an influx of superhero films vying for audience attention. The response to Folie à Deux serves as a resounding cautionary tale that sometimes deviating too far from the original’s compelling essence can lead to a tragic, uninspired outcome.

In conclusion, as the dust settles on this attempted sequel, it is evident that perhaps not all stories are meant to be revisited, especially when the result is a film that struggles to find its footing or elicit any sense of enjoyment.

The aftermath of a box office disappointment.