Joker: Folie a Deux (2024)

Score: 3 / 5

Polarizing to some as it may have been, Joker was a breath of fresh air in the stale, stagnant chamber of superhero films. Approaching one of the most iconic villains in comic book history from an intimate psychological perspective, it shifted the lore to suit its character drama, a gamble that paid off magnificently. Paired with its dank, oppressive mise-en-scene, the film unflinchingly faced its realistic horrors and forced us to do the same, effectively making this viewer, at least, feel both complicit and implicated in its depravity. "Dark" and "edgy" don't really come close to what writer/director Todd Philips was doing with the material or with us.

So when a sequel -- from the same creative team -- was announced, I was thrilled. Ushering in Lady Gaga as Joker's paramour was an act of pure genius, if a risky one, as few other actresses working today can carry off the bizarre mix of sensuality, bravado, and unhinged personality that is Gaga's brand. And whenever Gaga and Joaquin Phoenix are on screen, this film delivers on its promises in spades. They play intriguingly off each other, each looking pretty miserable until they suddenly, fabulously, don't; they mine their characters for organic embodiment and uncanny movement work that had me gasping for air. And then, like in Chicago or Cabaret, they break into song.

Some will call this film a musical, but that's not strictly accurate. If anything, it's a jukebox musical, but even that suggests either full musical numbers or music informing/mobilizing the plot. The musical scenes in Joker: Folie a Deux do neither of these things, instead using specific (and usually repeated) musical motifs to showcase not the mental fantasies of its characters but rather their perverse fixations on certain words and ideas that manifest in glamorous, ego-feeding spotlight moments. It's not about them escaping into a nostalgic world (a la La La Land) or working to create their delusional paradise (think Sweeney Todd or even moments of American Horror Story); it's about them dwelling in their own selfish desires and expressing themselves through pirated emotions.

That said -- and truly, I did thoroughly enjoy watching this film -- as a sequel, I was disappointed. I'd have liked less time in Arkham or at least more interesting things for Brendan Gleeson and Catherine Keener to do. I'd have liked a bit more of, well, something: more fully realized musical numbers to indicate the insanity at work in Arthur Fleck and Lee Quinzel or the chance for them to build their criminal résumés together out in Gotham proper. Instead, we're forced into comparatively dull doldrums as Arthur makes a firm distinction between himself and his "Joker" persona and most of his interesting and heartbreaking reality of civilian life is ignored in favor of heavyhanded sequences of his institutional abuse. The closest the film comes to caring about his internal reality is in suggesting -- through classic big band music and some dialogue -- that Arthur is still within a television show of sorts, which surely locked his brain in place at the climactic moment of the first film. And then there's the utterly wasted potential of Harley here, as Gaga is never allowed to go full-blown crazy.

Thankfully, their romance is flipped a bit. Notorious for its questionable abuse and even consent in previous media, here Lee and Arthur develop an earned camaraderie, even though we eventually learn that Lee is the controlling, demanding party in their relationship. Then comes the trial, which is so laughably absurd in its conception and execution, cinematically, that I was actually wishing the film would end soon. Spoiler: it doesn't. Unlike the riveting climax of the first film, here things stretch on through sillier and sillier twists until a false deus ex machina offers hope for transcendence before putting us (and Arthur) literally back where we started.

Performances rarely make a film worth watching, but this is the exception to that rule. Phoenix and Gaga are incredible. I just wish Philips (or, rather, someone else) gave them better material to work with and a more coherent project to bring to life.

House of Gucci (2021)

Score: 5 / 5

For the second time this year: God bless Ridley Scott. Not only did he provide us with two of the best movies of the year (along with The Last Duel), they are also completely aesthetically and tonally different, proving himself yet again a master of the craft. Willing to change his style to fit the story he's telling, Scott is this time engaged in high fashion and high crimes. Not unlike his exploration of class, family, and wealth in the Getty dynasty (All the Money in the World), he is keenly interested in fraying lines of loyalty and dissolution of civility when powerful families are put under the pressure of greed. This isn't American Crime Story: The Assassination of Gianni Versace, but I wondered more than once if Scott had viewed Ryan Murphy's similarly sweeping, campy study of murder in an Italian fashion family. Whereas that miniseries delved into dark secrets and an outsider preying on insiders, House of Gucci works more as a soap opera.

Based on the book of the same title, the sensationalist story only works with the flamboyance and larger-than-life perspective we'd expect. As such, Scott and writer Becky Johnston work hard to make this movie an assault on our senses. The cinematography by frequent Scott collaborator Dariusz Wolski (also of Pirates of the Caribbean, The Crow, The Walk, News of the World) affords us luxurious views of impossible places, doused with warm light and vibrant colors. Music by Harry Gregson-Williams sweeps us into sumptuous highs before the film's abundant soundtrack of Italian pop or opera jumps to the next loud track. Costumer Janty Yates dresses the players in unbelievable outfits and ridiculous hues, clearly enabling them to do their thing in style if not comfort; the costumes also clearly inform our perception of the characters (and doubtless informed the actors' performances as well), as certain characters become notably animalistic in their devolution.

One wonders how much the stylized nature of this film was planned in advance by Scott and his team, or if it was primarily the result of casting choices. One can hardly expect a film with this starring lineup to be dull, but each major player seems handpicked based on their reliably campy deliveries elsewhere. Obviously any discussion of this movie will begin and end with the glorious Lady Gaga, whose fierce performance as Patrizia Reggiani is an unholy cross between technically proficient chameleonic acting and cheap dive bar drag. Patrizia, a willful and conniving working-class woman who stalks and falls in love with Maurizio Gucci (a less volcanic but no less intentionally wry Adam Driver), weasels her way into the family business to make something of herself. Or, perhaps, for herself. Her lack of high society manners is shamed by Maurizio's ailing father Rodolfo (an oddly stiff Jeremy Irons, not long for the world of this film) but welcomed by his commercially-minded salesman uncle Aldo (Al Pacino doing what he does best).

Like Aldo, Patrizia wants more money and to boost Gucci's international market. Redirecting Maurizio away from law school, she charges headfirst into the flailing family and attacks its weak spots. Namely, and most obviously, Aldo's flamboyant and absurd son Paolo, played by an unrecognizable and utterly arresting Jared Leto. With no taste or talent, he's the lone guppy in a sea of sharks, and Leto capitalizes on this, turning the character into a kitsch king as unaware as he is repulsive. Oh, and who can forget Salma Hayek's scenes as Patrizia's friend and psychic, Pina, who guides Patrizia through her feelings of desire, lust, fear, and greed in increasingly practical ways. She's hilarious as a naïve and unassuming fortune-teller, then a little disturbing as she cultivates Patrizia's dependency; not unlike the sisters in Macbeth, one wonders if Pina isn't enabling her friend rather than simply supporting her.

The first half of the film is radiant, bubbling, and darkly humorous in its foreshadowing, crowned by a brilliant and jaw-dropping sex scene that epitomizes much of the proceedings. The second half leans less into camp and more into crime drama, not unlike The Godfather I suppose, with a tighter focus on Maurizio's maturing attitude toward taking over the family business. Like the aforementioned Scottish king, he seems to have swallowed the Kool-Aid, to mix potent and relevant cultural touchpoints, and Driver's potential for danger oozes out from his impeccable suits (I will maintain that he has never looked better). And in this tonal transition, the film delivers on every single one of its promises. It's a messy, brazen, glamorous cocktail of sin and style, as audacious in its faith to storytelling as it is to its own sickly beauty. And thanks to Scott's tried-and-true direction, it's one of the best movies of the year.

A Star is Born (2018)

Score: 5 / 5

"Music is essentially twelve notes between any octave," says the grizzled old man played by Sam Elliott. "Twelve notes and the octave repeats. It's the same story told over and over forever. All that the artist can offer the world is how they see those twelve notes. That's it." It's a moment that fully validates the logic behind creating yet another version of this movie.

There are stories that transcend time and culture. Think of Romeo and Juliet, the star-crossed lovers and the tragedy of their families; it's one of those essential stories that will always exist and constantly finds ways to reinvent itself to stay fresh and exciting. And of course there's A Star is Born, the 1937 romantic drama of a fading celebrity who helps a young artist rise during the course of their doomed relationship. You might say A Star is Born is a spin-off of R&J, where the lovers aren't star-crossed so much as, simply, stars.

It's the ultimate cinematic depiction of the glories and horrors of fame, framed in a gorgeous love story. That's why it's been re-made (adapted, really) twice before. It just works, and it can clearly be applied to multiple cultures, contexts, and even art forms. From movies to musical theatre, and from rock to country, A Star is Born may rely on familiar plots and characters, but each time we've seen it, it feels fresh and urgent, beautiful and ultimately heartrending.

Easily my favorite version of the story, this film is sure to be a top contender for lots of awards, and rightfully so. Director Bradley Cooper has crafted an amazing film, proving himself to be as awesome behind the camera as in front. For his first time doing it, Cooper pulls some deft tricks with style, camera, and arresting emotional beats in a story we all know too well. As a performer, this might be one of his best outings. He disappears so completely into the role I forgot several times who I was watching. It's clearly a passion project for him, and there is not a moment you don't utterly believe everything he's giving you. And his voice is amazing, dexterously fulfilling the needs of both rock and country.

And then there's Lady Gaga, who matches him perfectly in each shot, with each beat, and through each note. The movie is as much hers as his, and the two have chemistry that will put every other romance this year to shame. And while her acting chops are proven multiple times here, Cooper is smart enough to let Gaga play her strengths too, belting out ballads in some scenes and twitching her dance moves in another to a synth-pop bop. In fact, more than once I had the unnerving impression I was watching Gaga in some sort of autobiographical performance, recreating some of her own life for us, allowing us to see what no audience member should ever see of their favorite celebrities.

I could go on forever praising this movie. The close-up camerawork keeps things that should be larger-than-life horribly, palpably intimate. Its grounded realism is also deeply impressionistic, forcing us to feel every second in our heart, pounding its joys and sorrows into us with every drum beat and guitar string. In fact, go see this movie in as big and beautiful a theater you can. Get one with a great sound system, because the sound mixing and musical editing is something you need to feel as much as hear.

Now go and tell everyone you know to go see this movie. And buy the soundtrack. And play it on repeat. It's unbelievable. And knowing that Gaga insisted for most of it to be recorded live on set makes it just that much more incredible. Plus, several of the songs are only partly performed onscreen; the soundtrack gives you full songs and -- trust me -- it's worth it and then some. This is musical and dramatic gold, y'all. Dig it.

IMDb: A Star is Born