I was not really interested in seeing this, and now I am actively disinterested in seeing/hearing about it ever again.





Joker is not terrible - but it is a singularly uninspired retread of other movies that has nothing original to say about either its title character or his origins.





This film is clearly referencing The King of Comedy and Taxi Driver, but Joker lacks their bite and their deftness with characterisation and world-building (among a thousand other things). Gotham is recast as the New York of the mid-70s: we get all the popular imagery associated with ‘Fear City’, but there is a disconnection between the story of its central figure and this backdrop.





As though to hammer home the connections to Scorsese, Robert De Niro appears as a talkshow host that Arthur is obsessed with - in an inversion of his role in King of Comedy that only serves to highlight how silly this movie is by comparison.





But all this is just window-dressing - under the grime, this is a desiccated plot summary cobbled together from anti-hero cliches.





Rather than feeling like an inevitable descent into villainy, the film feels like a collection of maybe-catalysts that do not tie together. Combined with overt sign-posting (the yuppies Arthur kills mock him by singing 'Send In The Clowns') and the most ridiculous needle drops this year ('That's Life' by Frank Sinatra and 'Smile' by Jimmy Durante both get played TWICE), Joker is unique in its failure to both signal its intentions while failing to achieve them.





Phoenix brings a frailty and bubbling rage to Fleck, but his performance is undermined by the hamfisted script, which reduces his performance to a series of interesting choices in service of hackneyed, overlong sequences that derail any sense of tension or empathy toward Arthur.





It is difficult to really grasp what the filmmakers' intentions are with this film: is it about the downfall of a man? A critique of Reagan-era capitalism (and by implication, the crises of today)?





The movie is so drawn out, and filled with bizarre choices (the score feels like a parody of 2010's dramatic scores), that I gave up caring about what it was hamfisted-ly trying to say. There is a romantic subplot setting up an obvious misdirect that went on so long that I actually began to believe it.





What makes the movie feel even less interesting is the way the movie teases a darkness that it never earns, and neuters whenever it feels like it is about to get problematic: the movie opens with Arthur getting mugged by a group of teens of colour. Later, he is accosted on a train and fights back - the obvious reference points are the famous train-set shoot-out scene in Death Wish and Bernhard Goetz's racially-motivated shooting of four black teens in 1984.





Based on the opening scene, I was expecting the movie to lean into these antecedents, and build up Arthur's rage on racial resentment. Considering how obvious this movie had been in its messaging and plot points, such a tack would be obvious.Instead, the filmmakers have Arthur kill a group of malignant Wall Street types, an inversion so perfect that it negates what feels like a vaguely logical trajectory for his character.





There is a wrong-headedness to all these choices that I could not shake. To me, the Joker has always been defined by his lack of identity and clear motivation. Part of the greatness of Heath Ledger's Joker was his lack of backstory - there was a terrifying lack of purpose to his rampage.





By contrast, Arthur is a checklist of bad guy cliches - he suffers from childhood trauma, struggles with mental illness and has an unhealthy fixation on his neighbour (Zazie Beetz). The rooting of Joker's evil in mental illness and the pathology of incels feels wrong, and makes me wonder exactly what the filmmakers are trying to say in this movie based on a comic book property.





There is the kernel of an idea here - take elements of a popular franchise and give it to a filmmaker to do their own take on it. Sadly, Joker feels more like a logical endpoint of the dark verisimilitude that comic books have been labouring under since the great revisionists (Alan Moore, Frank Miller et al) of the Eighties.





As a reaction to the increasingly constrictive continuity of the Marvel approach, Warner Bros' decision to green-light one-off movies like this are welcome - as somebody whose favourite Batman movie is Batman Returns, I will always boost risk-taking.



But as a movie in its own right, Joker is a confused and superficial mess.



I just hope that its massive success leads to other movies that take an off-road approach to familiar characters and scenarios, rather than a series of sequels.



