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WB's JOKER: THE SEQUEL directed by Todd Phillips (TBD)
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366 posts in this topic

On 10/1/2024 at 4:23 AM, Bosco685 said:

 

"BOLD & DARING, exploring mental health and sensationalist media and society's engagement with it."

This is exactly what I thought they were doing with the film, as I mentioned a few weeks ago. They're capitalising on the current social climate which everyone can relate to. 

It's a great move on their parts, businesswise. 

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Some absolutely scathing reviews out on social media.

Critiques seems to boil down to:

  • Lady Gaga's barely in it
  • Joaquin Phoenix can't sing (a la Russell Crowe in Les Miserables; Pierce Brosnan in Mama Mia or Edward Norton in Everybody Says I Love You can't sing)
  • The ending is...frustrating
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On 10/2/2024 at 5:15 AM, Gatsby77 said:

Some absolutely scathing reviews out on social media.

Critiques seems to boil down to:

  • Lady Gaga's barely in it
  • Joaquin Phoenix can't sing (a la Russell Crowe in Les Miserables; Pierce Brosnan in Mama Mia or Edward Norton in Everybody Says I Love You can't sing)
  • The ending is...frustrating

the last bit made me chuckle

In grappling with the implications of its story, Folie à Deux’s every attempt at showcasing cleverness, verve, or engagement is held cruelly underwater by staid direction, shoddy emotional plotting, a gleeful sense of cruelty, and a grave nihilism that makes Zack Snyder’s work seem like a season of Bluey.

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On 10/2/2024 at 8:15 AM, Gatsby77 said:

Some absolutely scathing reviews out on social media.

Critiques seems to boil down to:

  • Lady Gaga's barely in it
  • Joaquin Phoenix can't sing (a la Russell Crowe in Les Miserables; Pierce Brosnan in Mama Mia or Edward Norton in Everybody Says I Love You can't sing)
  • The ending is...frustrating

 

On 10/2/2024 at 4:00 PM, paperheart said:

the last bit made me chuckle

In grappling with the implications of its story, Folie à Deux’s every attempt at showcasing cleverness, verve, or engagement is held cruelly underwater by staid direction, shoddy emotional plotting, a gleeful sense of cruelty, and a grave nihilism that makes Zack Snyder’s work seem like a season of Bluey.

Didn't we do this dance with the first Joker movie where you both predicted it would bomb, and nobody wanted it? Now your back to rejoicing so you can regain ground on a poor assumption to begin with?

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