Box office performance often dictates the success of films, but the latest film from Todd Phillips, Joker: Folie à Deux, has entered the arena with disappointing numbers. Opening to just $37 million domestically, the sequel to the 2019 film Joker, which opened to $96.2 million, has raised eyebrows and sparked concern about its future performance.
The sequel, which features Joaquin Phoenix reprising his role as Arthur Fleck and Lady Gaga as Harley Quinn, aimed high with ambitious themes and musical elements. The initial buzz suggested it would perform remarkably well, especially with Gaga's star power. Unfortunately, after its first weekend, Joker: Folie à Deux became notable not just for its artistic attempt but for experiencing one of the most significant second-weekend box office drops ever. By its second weekend, projections indicated the film would slip to number three, overtaken by horror film Terrifier 3, which garnered $18.3 million during its opening.
Internationally, the film did slightly boost its earnings, bringing the worldwide total to $121.1 million, which includes $81.1 million from foreign markets. Despite this, the film's budget significantly overshadowed its income, reported at around $190 million before marketing costs. Compounded by this, the film’s audience reception has been significantly lukewarm, scoring 34% on Rotten Tomatoes and earning a troubling "D" grade from CinemaScore audiences surveyed.
The decision to pivot to musical elements—while garnering initial intrigue—has been met with critique. Critics and audiences have wondered if mixing genres was the best choice for the sequel. The film dwelled more on dramatic themes and psychological depth but too often leaned on its musicality to both exploit and confuse its audience. Many suggested this musical approach detracted from the raw grit of its predecessor, which won acclaim for portraying the struggles and depth of Arthur Fleck's descent.
Much of the criticism points to the mixed execution of this new direction. Critics have noted how musical numbers often interrupted the narrative flow, raising the question of whether the film could have capitalized on its potential more effectively. Michael Ordoña of the L.A. Times noted, “The performers are game, but these musical breaks try our patience. They often interrupt the momentum, and there’s not much of it to begin with.” These commentary pieces hint at the missed opportunity to connect more poignantly with audiences, who may have sought either escapism or catharsis.
Adding layers to the film's analysis, theater critic Andrew Kendall raised concerns about the film’s take on the musical format, stating it oftentimes refused to commit to the joy and escapism typically associated with musicals; instead, the performances remained atonal and grim, reinforcing the film’s darker themes. Critics have argued this might represent Phillips’ hesitation to let viewers find enjoyment amid the chaos of Gotham's relentless suffering.
Despite its underwhelming box office performance and negative backlash from critics, Joker: Folie à Deux is set to release its physical format on 4K Blu-ray by December 17. There will be limited special features detailed, but as the marketing push progresses, more information may emerge about potential digital releases and features for the home viewing market. A Steelbook edition tied to its release could add some allure for collectors, but questions remain about whether it will find its footing post-theater.
Film analysts have tried to synthesize what this means for the future of DC film adaptations and whether audiences are turning away from dark comic adaptations even as the genre has achieved commercial success. The focus on narratives highlighting emotional and psychological depths, like those seen with both Joker films, contrasts sharply with the reception of lighter superhero films. There seems to be an unwritten rule wherein audiences expect levity even when walking through harrowing narratives.
The final bank statement for Joker: Folie à Deux is still pending, but current trends indicate viewers may opt for other cinematic experiences if this film fails to present content or themes they wish to engage with. Conversely, it may signal broader shifts within the genre about artistic direction, character complexity, and audience expectation. Only time will tell how Folie à Deux will be remembered among the myriad of superhero offerings now crowding cinema screens.
For now, comparisons to its predecessor loom like shadows; the acclaim for Joker serves both as meteoric rise and grave burden for the franchise’s continuation. Critics are left asking: if musical numbers and musicality are played only for grim commentary, is it possible for the Joker saga to escape its own caricature?
