Joker: Folie à Deux, the sequel to the highly debated 2019 film Joker, has arrived amidst a storm of controversy and sharply divided opinions. While some eagerly anticipated its release, drawn in by the return of Joaquin Phoenix and the addition of Lady Gaga, the film has largely been met with a wave of negative reactions. This critical backlash begs the question: Why Do People Not Like Joker 2? This article delves into the key reasons behind the widespread disappointment and explores why Folie à Deux has failed to resonate with audiences and critics alike.
Divergence from Expectations and Genre Shift
One of the primary reasons for the negative reception of Joker: Folie à Deux stems from its radical departure in genre. The original Joker was a dark, gritty, and grounded character study, albeit set within a comic book universe. The sequel, however, boldly veers into the realm of a musical. This genre shift was unexpected and, for many, unwelcome. The original reviewer himself admits to being intrigued by the “wild and out there risk” of a musical sequel, yet ultimately found it to be a significant misstep.
The incorporation of musical numbers feels jarring and tonally inconsistent with the established world of Joker. While the film attempts to justify these musical breaks as manifestations of Arthur Fleck’s psychosis, they often come across as forced and uninspired. Viewers who appreciated the first film’s bleak realism found the sudden bursts of song and dance to be not only distracting but also detrimental to the narrative’s intended impact. The shift essentially alienated a portion of the audience who were expecting a continuation of the first film’s psychological thriller aspects.
Plot and Narrative Weaknesses
Beyond the genre shift, Joker: Folie à Deux faces significant criticism for its weak and convoluted plot. The narrative, which revolves around Arthur Fleck’s rejection of the Joker persona and his subsequent downfall, is described as “basic” and “drawn out.” The reviewer argues that the story could have been effectively told in a much shorter runtime, suggesting that the film’s two-hour length is unnecessary and contributes to its pacing issues.
A central point of contention is the unclear motivations driving the characters’ actions. Arthur’s sudden decision to disavow the Joker identity, seemingly during his trial, feels unconvincing and serves primarily as a plot device to instigate conflict. Similarly, the fervent devotion of Joker’s followers, including Lady Gaga’s Harley Quinn, and their rapid abandonment of him upon his rejection of the Joker persona, lacks depth and believability. These narrative inconsistencies contribute to a sense of artificiality, making it difficult for viewers to become invested in the characters or the story’s outcome. The ultimate demise of Arthur Fleck, “shivved in the stomach” and left to bleed out, is described as unceremonious and unsatisfying, further highlighting the plot’s shortcomings.
Character Issues and Caricatures
The characters in Joker: Folie à Deux are also subject to criticism, particularly Harley Quinn and the portrayal of Joker’s supposed fanbase. Lady Gaga’s Harley Quinn is described as an “obnoxious and unlikable” “manic pixie dream girl turned up to 11.” This characterization fails to capture the complexity and nuance often associated with Harley Quinn in other iterations. Instead, she is presented as an exaggerated and grating figure, further contributing to the film’s overall sense of artificiality.
Furthermore, the film’s depiction of Joker’s followers as “incel weirdo types” is seen as heavy-handed and offensive. While the first Joker sparked discussions about its potential appeal to such groups, Folie à Deux seems to directly address and antagonize this perceived audience in a clumsy and alienating manner. By painting Joker’s fans as caricatures, the film not only risks alienating a segment of its potential audience but also simplifies a complex and sensitive topic into a shallow and dismissive portrayal. This approach is seen as lacking subtlety and ultimately undermines any potential for meaningful commentary.
Musical Integration Failures
The musical numbers, intended to be a central element of Folie à Deux, are widely criticized for their poor execution and questionable artistic choices. While the initial musical breaks are described as “okay” and somewhat justifiable as part of Arthur’s psychosis, they quickly devolve into “tacky” and “off the rails” sequences. The reviewer specifically points to a “Sonny & Cher bit” and a “tacky-ass soul singer performance” by Lady Gaga as examples of the musical numbers’ descent into absurdity.
The choice of songs and their renditions are also questioned. The use of “great old-school vocal jazz and soul-type songs” is deemed “gross” and disrespectful to the source material. Instead of celebrating these musical genres, the film is accused of using them in a cynical and manipulative way, seemingly with the sole intention of provoking a negative reaction from a specific audience. The reviewer highlights an instance of Joaquin Phoenix engaging in a “fucking tap dance” during one musical number, further illustrating the perceived disconnect between the musical elements and the film’s overall tone and narrative. The musical aspect, therefore, instead of enhancing the film, becomes a significant point of ridicule and contributes to its overall failure.
Perceived Intent to Alienate Audience
Perhaps the most damning criticism leveled against Joker: Folie à Deux is the accusation that the film was intentionally designed to be disliked. The reviewer posits that the filmmakers “didn’t really want it to be enjoyed, especially by a particular group of people” – the supposed “incel-type men” associated with the first Joker. This perceived intent to alienate a specific audience is seen as “obnoxious” and ultimately self-defeating for a large-budget, far-reaching film.
By focusing so heavily on reacting to online discourse surrounding the first film, Folie à Deux is accused of losing sight of its primary goal: to create a compelling and engaging movie for a broad audience. The film’s perceived mission to say “fuck you” to a specific group is seen as misguided and ultimately harmful, as it inadvertently alienates “regular normal-ass people” who simply wanted to see a good Joker movie. This intentional divisiveness, whether real or perceived, has undoubtedly contributed to the film’s negative reception and solidified its status as a critical disappointment.
In conclusion, the widespread dislike for Joker: Folie à Deux can be attributed to a confluence of factors. The unexpected and poorly executed genre shift to a musical, the weak and nonsensical plot, the caricatured characters, the failed integration of musical numbers, and the perceived intent to alienate a portion of the audience all contribute to a film that ultimately fails to live up to expectations and, according to many, actively strives to be unlikable. While some may appreciate its audaciousness and willingness to take risks, the overwhelming consensus is that Joker: Folie à Deux is a significant misstep that tarnishes the legacy of its predecessor.
