Released five years ago, Todd Phillips’ Joker was an outlier among comic book movies. In addition to grossing over a billion dollars, it was nominated for 11 Oscars, including Best Picture, and it won two, including the Best Actor award for star Joaquin Phoenix. Its Tomatometer score was positive, yet the movie was divisive in its overall reception. Now, the musical-infused sequel, Joker: Folie à Deux, is less likely to be as big a phenomenon, and according to the first reviews of the movie out of the Venice Film Festival, it’s maybe not quite as good, despite another strong performance from Phoenix, plenty more technical delights, and the addition of Lady Gaga. Still, as with the first Joker, whether you love or hate it, it’s something to see.

Here’s what critics are saying about Joker: Folie à Deux:

Does it live up to expectations?

The highly anticipated sequel to Joker is as deranged and exciting as you would have hoped.
— Ben Rolph, Discussing Film

Joker: Folie à Deux will surprise many people for its ingenuity… It’ll get people talking as much, if not even more, than the first.
— Ema Sasic, Next Best Picture

This is one of the most unique takes on comic book characters I’ve seen on film… Phillips deserves praise for taking bold creative risks that pay off in unexpected ways.
— Dorian Parks, Geeks of Color

(It’s) unlike anything I imagined it would be.
— Catalina Combs, Black Girl Nerds

(It’s an) ingenious and deeply unsettling film.
— Geoffrey Macnab, Independent

Folie à Deux is a movie tailored to its expectations, yes. But the Joker’s trick is that it rejects them, a bravado move from Phillips that’s sure to hemorrhage his fan base.
— Luke Hicks, The Film Stage

Joker: Folie à Deux may be ambitious and superficially outrageous, but at heart, it’s an overly cautious sequel.
— Owen Gleiberman, Variety

(Photo by Niko Tavernise/©Warner Bros.)

How does it compare to the first Joker?

This is far more entertaining of a film than the first.
— Yasmine Kandil, AwardsWatch

Just as bleak and formally daring… just as edgy and disturbing as its forerunner.
— Geoffrey Macnab, Independent

Phillips and Silver have delivered the last thing anyone expected: a socially responsible Joker movie that finds an intriguing way to explore the consequences (both on and offscreen) of the first film.
— Matthew Turner, NME

Unlike the original, which finds a perverse heroism in Arthur Fleck’s failings, Folie à Deux doubles down on how pathetic he is, and always was.
— William Bibbiani, The Wrap

Though it ends up as strident, laborious, and often flat-out tedious as the first film, there’s an improvement.
— Peter Bradshaw, Guardian

Die-hard fans of the first film may have some reservations about this story, which looks to course-correct some of the events and interpretations of the first film and its presentation.
— Ema Sasic, Next Best Picture

(Photo by ©Warner Bros.)

Is Joaquin Phoenix still Best Actor material here?

Phoenix once again delivers an award-worthy performance… This time, it’s fascinating to watch him fully commit to the Joker persona, grappling with the duality of Arthur and the Joker like never before.
— Dorian Parks, Geeks of Color

Phoenix delivers another masterful performance, this time more controlled and restrained as he goes deeper into Arthur’s psyche and showcases his impressive vocals.
— Ema Sasic, Next Best Picture

Phoenix is fantastic once again as Arthur, delivering a compelling and remarkably physical performance that teeters on the edge of insanity throughout – it’s simultaneously chilling and unexpectedly moving.
— Matthew Turner, NME

Phoenix’s performance is as strong as ever, adding a new layer of vulnerability to Arthur as he rapidly falls for Lee and descends back into madness.
— Yasmine Kandil, AwardsWatch

His performance in Joker: Folie à Deux continues to amaze… He continues to be scary good at his craft.
— Catalina Combs, Black Girl Nerds

If not topping his Oscar-winning turn in Joker, (he) at least find(s) a way to take him in a different, wholly surprising direction.
— Pete Hammond, Deadline Hollywood Daily

Phoenix sprawls out across the screen, luxuriantly, comfortably, and confidently…however, he never loses Arthur’s inherent goofiness even when putting on this front.
— Siddhant Adlakha, IGN Movies

(Photo by ©Warner Bros.)

What about Lady Gaga as Harley Quinn?

Lady Gaga is equally good as Harleen, sparking palpably insane chemistry with Phoenix.
— Matthew Turner, NME

By far the riskiest role the famous artist has taken on, she is extraordinary and lights up the screen with her deranged presence just as much as Phoenix did in the first film.
— Ema Sasic, Next Best Picture

Gaga is a compelling live-wire presence, splitting the difference between affinity and obsession.
— David Rooney, Hollywood Reporter

Gaga shines in the sequel’s musical sequences.
— Ben Rolph, Discussing Film

Gaga’s musical performance was incredible.
— Catalina Combs, Black Girl Nerds

Gaga doesn’t quite reach the mania that Harley Quinn ought to have but still packs a wallop where it counts.
— Kyle Anderson, Nerdist

Gaga never gets a chance to do what she did in A Star Is Born: seize the audience with her rapture.
— Owen Gleiberman, Variety

(Photo by ©Warner Bros.)

Does it cater to the Batman fanbase?

As far as certain Bat-obsessed members of the fanbase who just want to see more of the same will be concerned – at certain points this feels like blatant teasing, and it’s bound to provoke a reaction.
— Matthew Turner, NME

It forgets that other characters need attention. Gotham is such a rich, complex world; it’s a shame we don’t see more of it or the development of characters within it.
— Catalina Combs, Black Girl Nerds

Phillips and Silver deserve credit for going their own way with a canonical DC character. But it’s difficult to imagine hard-core Batman universe aficionados being thrilled by (this) movie.
— David Rooney, Hollywood Reporter

Folie à Deux doesn’t follow the typical comic book movie formula viewers are used to. For some, that might be off-putting; for others, it’s a breath of fresh air that breaks away from the norm.
— Dorian Parks, Geeks of Color

It’s a much-welcomed surprise to see a studio franchise film, based on DC Comics so less, care so little for genre conventions.
— Ben Rolph, Discussing Film

How is it as a musical?

The musical elements of the film were phenomenal… Gaga’s musical performance was incredible.
— Catalina Combs, Black Girl Nerds

The musical numbers in Joker: Folie à Deux are well-performed and incredibly entertaining.
— Ben Rolph, Discussing Film

Phillips does not allow the musical aspects to resemble the go-for-broke style of most musicals from the era when Arthur probably saw them or heard records growing up.
— Pete Hammond, Deadline Hollywood Daily

I feel like if the movie was going to go for musical numbers, it should have gone for broke.
— Kyle Anderson, Nerdist

Surprisingly, given the sheer quantity of musical numbers, the film chooses to downplay the choreography, instead focusing on the songs themselves.
— Matthew Turner, NME

The musical numbers become overindulgent and only sometimes necessary.
— Ema Sasic, Next Best Picture

While it’s a jukebox musical whose song selections range from Stevie Wonder to MGM standards, it is perversely dedicated to eliminating as much pleasure as possible from its song and dance numbers.
— Alison Willmore, New York Magazine/Vulture

(Photo by ©Warner Bros.)

What about the score?

Hildur Gudnadottir’s score for the first Joker was so integral to the story it won an Oscar. Here she hits just the right notes again.
— Pete Hammond, Deadline Hollywood Daily

The score for Joker: Folie à Deux kept me engaged, on the edge of my seat, and sometimes biting my nails.
— Catalina Combs, Black Girl Nerds

Hildur Guðnadóttir once again cooks with another outstanding score that elevates the film.
— Dorian Parks, Geeks of Color

The most crucial of callbacks is Hildur Guðnadóttir’s phenomenal Oscar-winning score, which still retains its haunting vigor.
— Yasmine Kandil, AwardsWatch

Hildur Guðnadóttir’s grave-deep, cello-sawing score is heavy enough to throw your back out, lurking in the shadows of every romantic tune or nice moment.
— Luke Hicks, The Film Stage

(Photo by ©Warner Bros.)

How does it look?

Lawrence Sher returns as cinematographer for the sequel, and once again he pulls out all the stops. His lighting is rich, his framing is arch, his allegories are often painfully in your face.
— William Bibbiani, The Wrap

As with the original movie, the film looks gorgeous throughout, with cinematographer Lawrence Sher making strong use of color and conjuring up some beautiful images.
— Matthew Turner, NME

The film’s cinematography does a fantastic job of capturing the gritty, oppressive atmosphere of Gotham City, perfectly mirroring Arthur’s battle into madness.
— Dorian Parks, Geeks of Color

Production values across the board are excellent, particularly returning Lawrence Sher’s cinematography, the production design of Mark Friedberg, and costumes from Arianna Phillips.
— Pete Hammond, Deadline Hollywood Daily

A few dreamlike flourishes do appear, though mostly to quote the familiar visuals of other musicals, like Jaques Demy’s French New Wave landmark The Umbrellas of Cherbourg and Francis Ford Coppola’s sincere, expressionistic One from the Heart.
— Siddhant Adlakha, IGN Movies

(Photo by ©Warner Bros.)

Is the screenplay good?

The screenplay is more restrained and less sensationalist than its predecessor, which works well with the themes at hand.
— Ben Rolph, Discussing Film

It’s a surprisingly far more mature storyline that Phillips and Scott Silver have crafted for this sequel, continuing to deliver something entirely new with the already exhausted comic book genre.
— Ema Sasic, Next Best Picture

Above all else, the script does a disservice to the complexity of Harleen Quinzel. This is far from an issue that stems from creating a new character variation, but rather its failure to commit wholeheartedly.
— Yasmine Kandil, AwardsWatch

I exited the screening feeling that it was shameful that I did not care for any of the female characters in this film.
— Catalina Combs, Black Girl Nerds

For a movie running two-and-a-quarter hours, Folie à Deux feels narratively a little thin and at times dull.
— David Rooney, Hollywood Reporter

Not enough happens in Folie à Deux.
— Owen Gleiberman, Variety

(Photo by ©Warner Bros.)

Is there enough substance to go with the style?

Phillips and co-writer Scott Silver have delivered a surprisingly moving, psychologically complex tale.
— Matthew Turner, NME

This sequel is far more considerate and introspective than one would expect coming from a film that featured so many gruesome kills and muddled storytelling on its ultimate goals for society.
— Ema Sasic, Next Best Picture

It seems Phillips wants to comment on what’s become entertainment in a TMZ world where tabloid stories and social media dominate interest over more serious issues… Joker: Folie à Deux has some answers, and twists.
— Pete Hammond, Deadline Hollywood Daily

Phillips doesn’t risk misinterpretation. He’s less interested in commenting on society than in cooling down society’s temper.
— Luke Hicks, The Film Stage

What’s most impressive about Joker: Folie à Deux is the way Phillips willingly undercuts his own billion-dollar blockbuster.
— William Bibbiani, The Wrap

The worst thing about Joker: Folie à Deux is its unfulfilled potential… without doing or saying anything new.
— Siddhant Adlakha, IGN Movies

Thumbnail image by ©Warner Bros.
On an Apple device? Follow Rotten Tomatoes on Apple News.