As a lifelong cinephile who has been fortunate enough to witness the evolution of cinema through various eras and genres, I can confidently say that Todd Phillips’ Joker: Folie à Deux is a cinematic oddity that defies conventional wisdom. This film, in my humble opinion, is a testament to the power of subjectivity in film criticism.
The launch of Todd Phillips’ Joker: Folie à Deux didn’t quite match up with what was anticipated. While its prequel garnered numerous Academy Awards and shattered box office records, the follow-up encountered negative feedback from critics which ultimately led to underwhelming ticket sales. However, this film seems destined to foster a devoted fanbase due to strong supporters – and Quentin Tarantino is one of them who can be counted among their ranks.
As a devoted fan here, I recently caught Quentin Tarantino discussing the upcoming Joker sequel, “Joker: Folie à Deux,” on The Bret Easton Ellis Podcast. Interestingly, he admitted that he went into the film with modest expectations, but what he truly admired was its peculiarities – parts that don’t quite fit together as a traditional movie experience. In his own words, it was the very things that “don’t work” that made him appreciate it more. Quite an intriguing take on the art of filmmaking, isn’t it?
I truly and deeply enjoyed it, a great deal, almost excessively so. In fact, my anticipation was high, hoping for an engaging cinematic experience. However, I initially believed it would be a detached, intellectual endeavor that might not resonate as a conventional film. Yet, surprisingly, I took pleasure in its imperfections – a movie that doesn’t quite fit the typical mold. To others, it may have been chaotic and disorganized to some extent. But for me, it wasn’t an intellectual exercise; instead, I became fully immersed in it. The musical segments particularly captivated me. In fact, I found the more ordinary the tunes were, the more appealing they seemed.
It’s certainly an odd take to say that a movie succeeds thanks to its messiness and banality, but that’s really the magic of film and film criticism: it’s wholly subjective, and what one person sees as a problem might be seen by another as an attribute. Personally speaking, and as I expressed in Joker: Folie à Deux TopMob review, I’m more in the former camp where the Joaquin Phoenix/Lady Gaga feature is concerned.
Quentin Tarantino finds a strong resemblance between the upcoming 2024 movie and some of his own creative flair in its execution, particularly noting similarities between it and “Natural Born Killers,” a film he originally wrote the screenplay for. However, he’s distanced himself from the 1994 version of that film because changes were made to his work by Oliver Stone, along with co-writers David Veloz and Richard Rutowski, after he sold the script.
Speaking about the characters Mickey and Mallory Knox, portrayed by Woody Harrelson and Juliette Lewis in Stone’s movie, Tarantino described them as…
This film appears to draw heavily on the influence of Natural Born Killers, a project I myself conceived, featuring characters like Mickey and Mallory. The adaptation I envisioned is strikingly similar to what I’ve seen here. I find it captivating, and I admire the creative direction taken. In essence, the entire movie seems to embody the delirious imagination of Mickey Knox.
As a passionate admirer, I can’t help but notice the striking similarities between the narrative of Joker: Folie à Deux and Natural Born Killers. One glaring parallel is that both stories unfold around a romantic relationship between two characters grappling with mental illness. Yet, they subtly critique media sensationalism as well, portraying their protagonists’ incarceration.
At a broader perspective, Quentin Tarantino holds Todd Phillips’ work in high regard, suggesting that during the creation of “Joker: Folie à Deux,” Phillips was somehow embodying the character of his protagonist. Contrary to audience and studio expectations of another blockbuster success like “Joker,” the sequel instead delivers a bold, middle-finger gesture towards the film’s most passionate 2019 fans, which Tarantino appreciates immensely.
Todd Phillips takes on a role similar to the Joker in his movie directing. He spends studio money carelessly, just like how the Joker would spend it. His unexpected gift, a joke, can be seen as a middle finger to comic book enthusiasts, moviegoers, Hollywood, and even DC and Warner Brothers investors. Essentially, this film is Todd Phillips’s version of “The Joker’s Movie.
After debuting in cinemas earlier this month, “Joker: Folie à Deux” slipped out of the U.S. top 10 box office chart over the weekend with the premiere of “Venom: The Last Dance”. It has grossed $201 million globally in cinemas so far and can now be bought or rented digitally from various online platforms.
Read More
Sorry. No data so far.
2024-10-30 01:09