Joker Movie Review | Hollywood Movie by Todd Phillips

Joker-Movie-Review
Joker Movie Review

Joker Movie Review | Joaquin Phoenix, Robert De Niro, Zazie Beetz, Frances Conroy


Joker Movie Review:Joaquin Phoenix boldly reinvents Batman's arch-enemy in Todd Phillips' new dark vision of the supervillain's origin story, also starring Robert De Niro.
The clown prince of crime is alive and mentally ill in Gotham City in Todd Phillips' gripping supervillain origin story, Joker. While a never-better Joaquin Phoenix paints the famous manic smile with his own blood at a memorable highlight of messianic renaissance, the highlight of this sandy entry into the DC canon and the sensational performance of the lead actor is the pathos that brings a character pathetically deprived of their rights, like many others in a metropolis in which the social chasm that separates the haves from those who do not have has become a well of incendiary rage.
This is very tied to the superhero universe and intersects in a familiar way and not with the canonical tradition of Batman. But Joker could also be a film for audiences who don't care much about the usual Hollywood comic book assembly line. Phillips and Scott Silver's smart script presents the story in a fiercely divided city with echoes of a contemporary and morally bankrupt America, albeit in the serious economic problems of a decade ago, or the next crisis that is just around depending on what financial forecasts you create.
Built around a believable spiral from a lone stranger to a deranged killer, it is both a neo-black psychological study based on urban alienation and designed as Taxi Driver and a portrait of the supervillain's rise. It is arguably the best film adjacent to Batman since The Dark Knight, and Warner Bros. you should see powerful box office numbers to reflect that. The unmissable factor of Phoenix's fascinating performance alone, it is disturbing and strangely affected, will be significant.
The film is also an obvious homage to another Martin Scorsese title, The King of Comedy, with Robert De Niro as Live With host Murray Franklin, an evening show of the night that Phoenix party clown and wannabe comedian Arthur Fleck , dreams of showing up.
Arthur religiously tunes the show to his sickly mother, Penny (Frances Conroy), in his dreary apartment, drifting into a fantasy in which he is pulled from the studio audience for Murray to hug him on camera. for the father he's never met. Arthur even studies guests on the show and rehearses his entry and jokes on the couch at home, in the style of Rupert Pupkin, although from the beginning it is clear that his disillusionment with Murray will become ugly.
Some energetic scenarios through the opening of news reports herald an emergency throughout the city as an ongoing strike has left the garbage accumulated, attracting a plague of "super rats", while fire-selling signs line up on the depressed shopping streets. Arthur is first seen trying on a smile and then a frown, a tear running through his white clown makeup before going out to work with a "Everything Must Go" discount poster for a struggling business. He's skipped by a bunch of teenage thugs who steal his sign and beat him in an alley.
"It's just me or the city is getting crazier?" asks her social worker (Sharon Washington), while she's requesting additional medications in addition to the seven she's already taking. She agrees that these are difficult times, people are out of work and struggling.
A key symptom of Arthur's mental illness is a kind of ha-ha Tourette, a medical condition that leads him to laugh uncontrollably, usually at awkward times. It carries a card as an explanation, which says "Forgive my laughter". This has contributed to his reputation as a monster at work and has limited his social circle to his mother. She nicknamed him "happy" from a very young age and told him that he was "put here to spread joy and laughter". But Arthur most of the time feels barely alive.
When Randall (Glenn Fleshler), a colleague at the clown rental service where he works, pulls out a gun to protect himself, Arthur begins to show a little more spark. This is manifested in the first of several fascinating shirtless dance sequences (this time for Fred Astaire's Film Shall We Dance, in which Phoenix's fibrous body is contorted in twisted ecstasy. The actor's dramatic weight loss for the role gives him a emaciated and reptiliano look. Later, those moves will become more elegant, almost balletic, as he celebrates his first murders in a dirty subway bath, and most memorablely, as he struts down a stone staircase with Joker's galas to Gary Glitter's "Rock and Roll" (Part 2). "
The music options are invigorating and cunningly ironic, including a double dose of Sinatra ("That's Life" and "Send in the Clowns") and a bit of vintage Cream ("White Room") while Arthur examines the chaos he has unleashed.
Some of Phoenix's best-in-class performance moments are the transformative interludes in which Arthur, increasingly deranged, applies his clown makeup and then dye his hair, becoming the Joker.
The protagonist's boiling psychosis is repeated in the riots that run through the city, with sandy and dirty textures and deep, rich nuances by filmmaker Lawrence Sher. The look of Mark Friedberg's production design predates Giuliani New York, with porn theater tents advertising titles such as Strip Search and Ace in the Hole (not the Billy Wilder film), and the combination of authentic New York locations with decorated is perfect. All of this is made even darker by the eerily melancholy mood of Hildur Gudnadóttir's melancholy orchestral score, which becomes a thunderous drama as the chaos escalates.
By perfectly uniting their original supervillain genesis story in the classic batman world, Phillips and Silver have important Thomas Wayne (Brett Cullen) money exchanges that announce a mayoral candidacy, with the promise of putting the city back in fractured on the right path. Penny Fleck worked for the Wayne family for many years, but her letters calling for help, especially as she cares more and more about her son's stability, have been unanswered.
When Arthur reads one of them, he learns a different story than his mother has shared, leading to a couple of awkward encounters, one with a sharply dismissive Thomas Wayne in a gala screening of Chaplin's Modern Times, and a spooky and through Wayne Manor's iron gates to the young son of mayoral candidate Bruce (Dante Pereira-Olson), involving an unidentified Alfred (Douglas Hodge). The murder of Bruce's parents is attached to the version depicted in Christopher Nolan's films and elsewhere, but the Joker's evolution feels freshly coined, partly due to much more personal resentment from the Wayne family.
Since the world created here is clearly inspired by New York in the not-too-distant past, it will be interesting to see how the public responds to the alarming representation of a besieged city. The rising wave of vigilante violence includes an assault by two detectives (Shea Whigham and Bill Camp), who were left in critical condition. And the choice of a trio of arrogant Wall Street youth as murder victims who trigger a chain reaction seems like a deliberate provocation, especially once tabloid headlines start ringing: "Kill the rich: A new movement?
The most graphic violence is limited to a small handful of key joints, although it definitely becomes visceral and bloody. But the film's main fascination is the tempestuous soup on Arthur's head, as it constantly disconnects from reality and wobbles to an alternate dimension. An example of this is his projection of a relationship with the brilliant single mother in the aisle (Zazie Beetz), whose neighboring elevator talk and recognition of Gotham's madness make Arthur believe he's in his wavelength.
What is so compelling about the lead role, as written as in Phoenix's pure and accelerated performance, is that it encourages us to feel sympathy for the Joker even when he is clearly becoming a homicidal maniac.
An innocent part of him really just wants to follow his mother's guidance and make people smile. But the city withdraws funds for its welfare programs, forcing it to stop taking its medications; a video of him laughing uncontrollably as he makes a spot in a stand-up club taunts his idol Murray on national television; It is perceived that even his loving mother has failed him when he films his medical records and discovers what a disturbing cover-up or fuel for paranoia is.
The trajectory of innocence and evil is tragic. But watching Arthur exult as the wave of crescendos offenders is a chilling spectacle that illustrates what has led to all the taunts, abuses and marginalization sparked.
Phillips is a long way from the Hangover trilogy, working confidently on a more ambitious vein similar to what he did as a producer with Bradley Cooper (who is also on board here) to reinvent A Star Is Born for contemporary audiences. With editor Jeff Groth, he keeps pace steady and satisfying for two hours, fueling suspense and modulating peaks and weather constructions safely.
De Niro seems to love playing a cheeky character in a film that references two of his iconic roles on screen, making Murray a show professional, but also a morally questionable figure, ready to exploit Arthur's fragility for good television. And Beetz demonstrates more of the laid-back appeal that makes it such a winning presence on Atlanta television. (His friend from the Donald Glover show, Brian Tyree Henry, makes a brief appearance as secretary of asylum records.)
But this is the Phoenix movie, and it inhabits it with a pitiful and fearsome at times in a performance that is no laughing matter. It's not to discredit the writer-director's imaginative vision, co-writer and invaluable technology and design equipment, but Phoenix is the main force that makes Joker such a distinctively avant-garde entry into the comic book complex Hollywood.
Production company: Joint effort
Distributor: Warner Bros.
Cast: Joaquin Phoenix, Robert De Niro, Zazie Beetz, Frances Conroy, Brett Cullen, Shea Whigham, Bill Camp, Glenn Fleshler, Leigh Gill, Douglas Hodge, Josh Pais, Marc Maron, Sharon Washington, Brian Tyree Henry
Director: Todd Phillips
Screenwriters: Todd Phillips, Scott Silver, based on DC characters
Producers: Todd Phillips, Bradley Cooper, Emma Tillinger Koskoff
Executive Producers: Michael E. Uslan, Walter Hamada, Aaron L. Gilbert, Joseph Garner, Richard Baratta, Bruce Berman
Director of Photography: Lawrence Sher
Production designer: Mark Friedberg
Costume Designer: Mark Bridges
Music: Hildur Gudnadóttir
Publisher: Jeff Groth
Visual Effects Supervisor: Edwin Rivera
Casting: Shayna Markowitz
Venue: Venice International Film Festival (Contest)



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