Joker

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Cast

Joaquin Phoenix
as Arthur Fleck / Joker

Robert De Niro
as Murray Franklin

Zazie Beetz
as Sophie Dumond

Bill Camp

Frances Conroy

Brett Cullen
as Thomas Wayne

Glenn Fleshler

Douglas Hodge
as Alfred Pennyworth

Marc Maron

Josh Pais
as Hoyt Vaughn

Shea Whigham

Bryan Callen

Jolie Chan
as Street Worker

Mary Kate Malat
as Murray Franklin Intern

Dante Pereira-Olson
as Young Bruce Wayne

Sharon Washington
as Social Worker

Elizabeth Bluhm
as Protestor

David Iacono
as Flirting Man On Bus

Leigh Gill
as Gary

Chuck Taber
as Delivery Man

Adrienne Lovette
as Middle Aged Woman

Tony D. Head
as WGC News Anchor

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News & Interviews for Joker

Critic Reviews for Joker

Audience Reviews for Joker

• Oct 08, 2019

  For all of the hullabaloo (re: embarrassing media coverage) leading up to the release of "Joker," you'd be forgiven for going into a screening with stilted expectations, preconcieved notions, and a general unease. I myself was a bit guilty on all counts! That just makes what an utter success "Joker" is all the more satisfying. This is an opus. A modern masterwork of performance art and technical film craft. Todd Phillips far exceeds his own filmography with a powerhouse of visual fluidity and intoxicating authenticity. He and Cinematographer Lawrence Sher have crafted a film of great empathy and hellish beauty that's as gorgeous as anything I've seen in a theater this year. Joaquin Phoenix shines once again as the mentally unstable, supervillain to be Arthur Fleck... in what may be his newly minted signature role. He belongs on the same mantel as Heath Ledger, and once again proves to be one of the actors of his generation. An Oscar at this point seems like a no brainer. "Joker" is the great feel bad movie of our time. It doesn't just wallow in misery however; Phillips and co. find the poetry and humanity within. For all of the overpublicized talk regarding brutal and horrific displays of violence (not even close to accurate), it's the emotionally disturbing content and the unbearable suffering of Arthur that have really stuck with me. This is somehow all expertly portrayed under the guise of a DC comicbook film based on one of pop culture's most identifiable assets? "Joker" has what it takes to change the landscape of blockbuster movies. It is the best film of the year.
  

  Michael P Super Reviewer
• Oct 05, 2019

  There has been a lot of discussion over Joker, a new dark R-rated spinoff unrelated to other comic book movies and directed by the man who gave the world The Hangover films. Director/co-writer Todd Phillips desired to tell a character-driven drama that explored how Batman's most notorious villain, and perhaps the most widely known villain of all pop culture, became exactly the clown he is. Some people said the Joker didn't need a back-story, others said that Phillips had no place dabbling into the realm of superhero cinema, and there were plenty of others who expressed unease that the movie might inadvertently serve as an inspiration for disaffected loners looking for encouragement to make others feel their pain and suffering. After all those think pieces and cultural hand-wringing, Joker, as the actual movie, isn't quite the transgressive experience that others feared and that the movie very much wants you to believe. Arthur Fleck (Joaquin Phoenix) is a quiet, pathetic man who is being ground down by the forces in his life. He has a unique medical condition that causes him to break out in hysterical laughter when he's nervous or upset, which only makes others feel nervous and upset. It's hard for him to keep his job as a for-hire clown and his therapy and medicine are being eliminated thanks to budget cuts. He cares for his elderly mother (Frances Conroy), crushes on an attractive neighbor (Zazie Beetz), and dreams of being a stand-up comic who will one day grace the set of his favorite late-night talk show host, Murray Franklin (Robert De Niro). Arthur's life changes from one night of extreme violence and how it shapes his concept of himself and society. He's tired of feeling bad for who he is and he's going to realize his true potential on the biggest stage. There's something, excuse the modern parlance, quite "edgelord" about the film and its artistic approach. It's very eager to be dangerous, edgy, disturbing, and there are certainly extended moments where it achieves these goals, notably thanks to Phoenix's performance. However, I was cognizant of how eager the film was to be gritty, and dark, and different, to the point that it felt like the whole enterprise wasn't just trying too hard to be different but wanted you to know it was trying. After a while, you just have to shrug and say, "Hey, movie, I get it." This guy's life ain't too hot. The first 45 minutes could probably be condensed in half. The first two acts feel redundant as they establish the many trials and tribulations this man on the edge of a broken society that has abandoned him. Because of this, Joker can be an entertaining experiment in solo superhero stories but there is a critical absence of depth that keeps the film from going beyond a stellar lead performance. It's a Martin Scorsese hodgepodge, a cover song for a famous villain. This is the kind of movie where subtlety is rarely used, which increases the sensation that it's trying too hard because it seems like it's saying all of its points with exclamation marks. Even in the opening minutes, while Arthur is applying his clownish makeup, we hear a voice over narration from a TV newscaster who is essentially screaming to the audience all of the important social contexts for the setting (Things are bad! People are mean! The economy is bad! People are getting desperate! What has the world come to?!). There's a fantasy experience where the characters are just openly explaining their desires. The visual metaphors are pretty simple, like the idea of hiding behind a mask (don't we all wear masks, man?) and the intimidating set of stairs ascending to Arthur's apartment that he must climb. So many supporting characters act like mouthpieces for larger collective groups, like a paid therapist who tells Arthur that the people with money don't care about her or Arthur, the little people caught in the machinery of runaway capitalism, or Thomas Wayne as the callous and cold business elite who seems disdainful about any sort of empathy for others that challenge his responsibility to a larger society. De Niro's talk show host feels like an amalgamation of a lot of different themes, like daddy issues, the media, but also the representation of ridicule as comedy and mass entertainment. There aren't so much supporting characters as there are ideas, and in a weird way this could have worked, as if each figure represents some different level of psychosis for Arthur, almost as if it was repeating the 2003 movie Identity and everyone really is a reflection of Arthur's damaged personality. The inclusion of Beetz (Deadpool 2) is more a plot device meant to humanize Arthur, but the entire premise feels like it's missing development to make it believable, and ultimately this is the point of her character but it's a long wait for a reveal for a character that is superfluous at her core. It's the kind of movie that thinks we need to yet again see the definitive formative act of every Batman movie. The movie does pick up a momentum when Arthur starts to get set on his way toward becoming the clown prince of crime. When the Joker gets his first taste of violence, in self-defense, the clown vigilante becomes a symbol for a reactionary contingent of Gotham's lower classes. The groundswell of support provides a welcomed sense of community for a man who has been secluded for his idiosyncrasies, but it's a celebration of a loss of morality, and so to fully embrace this tide of supporters he must give away the last of vestiges of his soul. This downfall allows for the movie to feel like it's finally committed to something, where the setups are finally starting to coalesce around a character who is now driving his story rather than being the recipient of misfortune. The violence becomes more shocking and Arthur stops caring about hiding who he really is, and that's when the movie becomes the full force it had been promising. I was tapping nervously throughout the final thirty minutes because I was anticipating bad things for anybody on screen. Phillips can use this anxious anticipation for unexpected comedy too, like where a character was trapped due to their unique circumstances and whether they too were in mortal peril. I wish Phillips had pulled back because there's a perfect visual to conclude his movie, that brings the entire self-actualization and loss of morality full circle, and yet the movie gives us another two-minute coda. Joker certainly feels like Phillips' version of a Scorsese movie, for better and for worse. If you're going to imitate anyone, it might as well be one of the greatest living filmmakers whose crime dramas have reshaped the very language of the movies and how we view violent crooks. The go-to response I've seen is that Joker is a combination of Taxi Driver and The King of Comedy. I'll readily agree with the Taxi Driver comparisons. It's everywhere. We have a disaffected loner who is turning sour on an increasingly hostile and unstable society he views as beyond repair. Even the shot selections, camera movements, and 1970s era set design evoke that influence. The King of Comedy is more a facile comparison, as Arthur is a disturbed man trying his luck at standup comedy, failing, and becoming more unhinged. The real reason reviewers seem to be making this connection is the inclusion of Robert De Niro, and it feels like that is the only reason he's actually involved, to ping back to King of Comedy. The idea of a stiff actor like De Niro being a glib talk show host, even in the 1970s, seems like a bad fit. The other real film influence I don't see getting as much recognition is Network. This is a tale of one man tapping into a vent of anger and starting a movement that ripples out beyond them into something uncontrollable. Phillips is best known for his comedy work but I could feel his leaning to do a straight genre picture. In other reviews, I've cited Phillips' keen eye for noir-flavored visuals (think of the car traveling across the desert as seen through the reflection of sunglasses in The Hangover). He had the chops to tell a straight genre crime thriller, so it's not surprising that Joker is a slickly made, unsettling, and effective movie when it counts. This is a grimy-looking New York City, I mean Gotham City, where the garbage piles high (another not so subtle visual metaphor) and the city feels like a maze all its own crushing our main character. The cinematography is great with several strong moments that amplify the mood of unrest and distaste. The cello-heavy score by Hidur Guonadottir (HBO's Chernobyl) is very evocative and ominously conveys the turmoil bubbling below the surface in a manner that doesn't feel like pandering. This is a good-looking production made my talented technicians and Phillips has enough skill to pull it all together, even if that aim is really to recreate a style of another filmmaker and the time and place of his films. I've purposely saved the best for last, and that's Phoenix as the titular character. He is mesmerizing as a broken man trying to find his place in society and flailing wildly. His uncontrollable cackling is so unsettling that when he broke into laughing fits, I could feel myself getting more and more unnerved. At first it was the awkward sympathy of watching a man struggle to get through his disability, trying to compose himself, and embarrassed for the discomfort he was projecting. The very sound of the cackling trying to be contained, as a friend and co-worker Jason credited, watching the laughter catch in his throat, it had such an immediate, almost physical reaction in me. Later in the movie, I cringed because it made me worry what was going to happen next because I know it's a precursor to bad feelings. When he's becoming more comfortable with his impulses and dark thoughts, you notice the cackling starts to ebb away. There's a small moment that I loved where after he flees from his first murder he runs into a bathroom, and once his breathing calms, it's almost like his body is commanded by some spiritual serenity as he begins to dance. Phillips allows the scene to breathe and play out, to invite the audience to join. This little motif probably appears a few too many times, but it's a beautiful little moment of physicality that expresses the chaos becoming harmony within a man. Phoenix lost 50 pounds for the role and his gaunt, haunted frame reminds you how much of a shell of a human being this character feels like. He even tells his therapist that he questioned whether he was even a person or not. Phoenix burrows deep into the character and unleashes a committed intensity that is impressively communicated through his sad, reedy, sing-songy voice, his slippery stances and body language, and the madness that seems to resonate from his bulging eyes. Even when the movie is repeating its steps and tricks, it's Phoenix that constantly gives back to the audience. It's a performance certainly worthy of Oscar attention and plaudits, though in my mind it's still a step or two below the instantly iconic, and Oscar-winning, performance from Heath Ledger. Joker is a movie and should not be held responsible for the actions of others and what they may read from the film. I don't sense Phillips and his team condoning their protagonist's lawless actions, and the violence is often undercut so that it feels more disturbing than triumphant and exhilarating. When Arthur does get his first kill, the audience has likely been silently rooting for him to fight back, to punish the wrongdoers, but the movie draws out the scene in a manner that's akin to a wounded animal panicking as it scrambles for its life and a cold execution. It's not meant to be cool. Phoenix's performance elevates the entire enterprise and will unnerve as much as it ensnares. It's not a subtle movie at all, and it hugs the works of Scorsese a little too closely, both in tone as well as visual symmetry. It's trying very hard to be nihilistic, edgy, and provocative (this isn't your "normal comic book movie" it wants to scream with every frame). Arthur just wanted to make people laugh, the movie tells us, but the joke was on him after all (subtlety). If anyone is inspired from this movie, I hope it's to seek out other Scorsese movies. Nate's Grade: B
  Nate Z Super Reviewer
• Oct 04, 2019

  The cinematography is bold and the performance from Joaquin Phoenix is truly captivating in Joker. While it starts sluggishly, the film's ultimate pay-off in delivering the "Clown Prince of Crime" into full-form makes for an unsettling, yet unique character study of one of DC-Comics' iconic villains: Joker. 4.28/5
  Eugene B Super Reviewer
• Oct 04, 2019

  Films based on comic books have been the craze over the last decade or so, to say the least. From Iron Man launching a franchise bigger than any interconnected cinematic franchise in history to The Dark Knight being known as one of the best films of all time, we're currently living in the golden age of comic book adaptations, so it should come as no surprise that a few unexpected outings would be attempted as well. Joker has now hit theatres and while I can say right off the top that it won't be for all moviegoers, this is a fantastic piece of storytelling. Being alone his entire life and thrown to the side by society, Arthur Fleck still lives with his mother well into adulthood and has a full-time job as a street clown. Having a condition that causes him to uncontrollably laugh, this character study is engaging from start to finish. Slowly realizing the truth about his life, things begin to devolve into chaos in his mind. Joker is simply a study of the mind of someone who has nothing left to live for or be happy about. For this reason alone, this is going to be a tough watch for certain viewers. Having a homicidal maniac as your core focus is not exactly an easy sell.  Now, Joker shares quite a few similarities to other classic films, which is being criticized a lot throughout many reviews, but I didn't see that as a negative. There are so many formulas that have been emulated to create great works of fiction that calling this movie a rip-off would be an insult to the filmmakers. On top of that, this movie is held together by a performance by Joaquin Phoenix that's truly out of this world, so any minor issues I had were usually overshadowed by him.  Phoenix's portrayal of this character, like every actor who has played this character in the past, is extremely committed, whether or not you like the outcome. Thankfully, I think his portrayal is completely different from anyone who came before him, making this movie one that will be able to stand on its own for a long time. From his quirks when the film begins to where he ends up during the final act, each and every moment was riveting.  In the end, Joker does borrow a little too much from classic to really call it a masterpiece or perfect, but it's pretty close in my opinion, in terms of holding your interest for an unlikely anti-hero. It's directed very, very well by Todd Phillips and I was more than happy to see him evolve as a filmmaker here. This is something that I never thought I would see him do and, aside from the level of great comedy in a movie like The Hangover, this is probably his best work to date. I loved nearly everything about this movie, even though it will upset some viewers and make them feel very uncomfortable. In fact, for that reason alone, it has done its job very well. You're not supposed to root for him, but rather understand where his actions come from. This is a great film.
  

  KJ P Super Reviewer

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