Todd Phillips’ new film “Joker: Folie à Deux” is something bound to happen after all the controversies caused by his previous film “Joker” (2019). Like Martin Scorsese made a sort of apology in “The King of Comedy” (1982) after “Taxi Driver” (1976) or Brian De Palam did a similar thing in “Carlito’s Way” (1993) after “Scarface” (1983), Phillips willingly shows some repentance here even though the result is not wholly successful, and that is a sort of improvement compared to the hollow and virulent aspects of the previous film.

The story is set in around two years after the finale of “Joker”. Arthur Fleck (Joaquin Phoenix) is now incarcerated in a facility for the criminally insane due to killing several people as shown in the previous film, and not only Gotham city but also the whole American society are still struggling with the toxic consequences of his evil crimes. As the first day of his trial is approaching, the city is rocked by more unrest and disturbance, but Fleck does not care much about that while looking quite miserable and troubled as usual, though he seems less manic and violent compared to how he was in the previous film.

Although there is no possible way for Fleck to avoid the inevitable sentence for those serious criminal deeds he committed as “Joker”, his lawyer, Maryanne Stewart (Catherine Keener), has a little strategy for his upcoming trial. While making Fleck look more sympathetic, she is also planning to argue in front of the jury that he is too insane to be responsible for his crimes, and Fleck is willing to go along with that because, well, he somehow found some will to live during his incarceration period.

However, there comes an unexpected change to him on one day. Thanks to a little generosity from one of the guards, Fleck is allowed to participate in a music therapy program in the facility, and that is where he comes across a woman named Harleen “Lee” Quinzel (Lady Gaga). This lady, who is clearly a fan of Joker, actively approaches to Fleck more as showing more sympathy and interest to him, and, what do you know, Fleck finds himself falling in love with this apparently troubled woman. Although things are still grim and gloomy for him in the prison, he becomes a bit more brightened up as often singing and dancing during a series of delusional moments of his, and, of course, he naturally becomes more tempted to wield his notorious criminal persona in public again.

Again, Philips and his crew members make sure that the movie is drenched in stark despair and misery. While being less blatant and oppressive than before, the score by Hildur Guðnadóttir, a rising Icelandic female composer who won the Oscar for the previous film, still feels bitter and bleak as usual, and cinematographer Lawrence Sher, who was Oscar-nominated for the previous film, constantly fills the screen with barren gloominess as much as possible.

This glum atmosphere is often intercut with the occasional musical moments as Fleck gets more delusional along with Quinzel along the story. We often see them sing alone or together, and this trend is continued even as the trial is eventually started. Even though this is not exactly refreshing if you have ever seen Rob Marshall’s Oscar-winning musical film “Chicago” (2002) or Las von Trier’s “Dancer in the Dark” (2000), the musical sequences in the film are mostly slick and competent with some vicious amusement, and Lady Gaga and Joaquin Phoenix look committed enough to swing back and forth between the two contrasting modes of the film.

However, the most surprising thing in the film comes from when it attempts to confront and reflect on the consequences of its hero’s heinous actions. As several characters from the previous film appear as the witnesses for the prosecution (Guess who the prosecutor is?), the movie keeps emphasizing how petty and pathetic Fleck really is behind his grandiose criminal persona – how toxic and devastating his actions have been to not only several others around him but also the whole society. As his trial is being turned into a big media circus, more supporters of his gather around the courthouse, and you may be reminded of how millions of incel dudes out there got empowered and intoxicated with the previous film when it was released a few years ago.

In fact, the movie even makes an indirect self-criticism from time to time, and you may wonder whether Philips and his co-writer Scott Silver intend to give a big middle finger to those pathetically ardent fans of their previous film, though their result feels as thin and superficial as their previous film. Despite the good chemistry between Pheonix and Gaga, the romance between their characters does not always work as being riddled with clumsy plot contrivance, and Gaga is often under-utilized even though she ably fills her role with her strong presence as much as her co-star. The movie also criminally wastes several notable performers just like its predecessor, and Catherine Keener, Steve Coogan, and Brendan Gleeson do not have much thing to do except merely functioning as counterpoints to Phoenix. 

In conclusion, “Joker: Folie à Deux” succeeds in cleaning up the mess of its predecessor to some degree, but it still feels rather empty and shallow although you may appreciate its several strong assets including the commendable efforts from its two lead performers. I do understand that it wants to repent along with its hero, but, folks, isn’t that too late?