Review: Joker is No Joke

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Be warned, Joker, directed by Todd Phillip’s, may be based on a comic book character that has had a long history in comics but on screen, but it will change the way you look at the character and the genre. If you had changed the names of some of the characters, the result would be a powerful modern noir film about a man’s fall from his already precarious grip on sanity to full chaotic madness. This is not a film for everyone and if you go in thinking it’s going to be some “comic book movie,” you may be off-put by it’s heavy nature and uncomfortable themes. Yet it is also an exemplary work of cinematic art.

When we first meet Arthur Fleck, he is a clown for hire. And in the opening scene he is one of those we most ignore on the street as we pass them by, someone holding a going out of business sign for a store. Nameless kids steal his sign and after a chase, they corner him and beat him up.  This is also our introduction to Gotham, a city that is reminiscent of the seedy streets of New York from the 70s and early 80s as portrayed in films like Mean Streets and Taxi Driver. But as a narrative, Scorsese’s King of Comedy is perhaps the biggest influence on Joker, as Arthur Fleck has spells of delusion where we glimpse into his imaginary world where he is accepted and even loved.

Gotham is a powder-keg city on the brink of exploding. Garbage is piling up on the streets because of a city-wide garbage strike. Unrest among the populace brews throughout the film as public tensions between the disenfranchised classes escalate steadily as the film progresses. There is rampant poverty and the Gotham itself is a decaying grimy city crowded with its own mad identity. Arthur Fleck may be insane, but so is the world around him.

Without a doubt, Arthur Fleck, as portrayed by Joaquin Phoenix, is the center of the film. It is not just a character piece, it is practically a one-man show. Sure there are other characters in it, but most of them are unnamed and just stepping stones towards his dark madness. Much of this is uncomfortable to watch as Phoenix’s portrayal of an already unsettled and unhealthy Arthur Fleck finds himself drowning in a system that has not only given up on him but the city as well. An early scene shows him with a social worker where it is revealed that he has already spent time in a mental institution, yet he can not answer the reason he was there in the first place. He is already on seven medications, yet he doesn’t feel it is doing anything for him. Later, city budget cuts will halt his sessions as well as his prescriptions. His social worker frankly tells him,”The city doesn’t give a shit about people like you. It doesn’t give a shit about people like me.”

The Joker is not just about the decay of a single human being but of a society. Society and and the uncaring system that created it let down not only a person that could have been helped but a city that could have been helped. And much of the the narrative displays that as Fleck’s personality spirals, so does the city as it become more violent and chaotic. And towards the end as the Joker is truly born, Gotham City becomes its most chaotic, reflecting the made state that Joker has now embraced.

This movie definitely has its violent moments but they are not, and I repeat, not, glorified or over the top like in Tarantino’s least violent film, Once Upon a Time in Hollywood. Now some of the violence may be disturbing or even unsettling. Good. It’s supposed to be because you don’t want him to do it, yet he does. Even in one instance of self defense, you think he’s defending himself, but then he crosses the line beyond self defense.

Joaquin Phoenix crafts an amazing performance as the troubled Arthur Fleck. He initially starts off as an awkward and apprehensive character who seems harmless at first but unfortunately as he progresses and gains confidence, he is also progressing into his darker nature. It is certainly one of the best performances I’ve seen all year and I would be surprised if he does not get at least a nomination for an Academy Award.

Francis Conroy plays Penny Fleck, Arthur’s mother who as we see in the very beginning is home bound and dependent on her son . And as it will be easy to see almost just as early on is not that mentally stable herself. She obviously does not have as much screen time as Phoenix, but her performance does stand out for its subtle nuanced portrayal of another troubled person.

Robert De Niro turns in his usually impressive performance as Murray Franklin, a late night talk show host who is very reminiscent of Johnny Carson, right down to the rainbow colored curtains and his Ed McMahan lookalike co-host.

As much as joker was planned as a standalone movie, almost to be seen as an Elseworlds tale, somehow they just could not leave the connection to Batman and the Wayne family out of it. There is a subplot involving Thomas Wayne, played by Brett Cullen that it works for the most part, especially as the Thomas Wayne comes across as a bit of a jerk. But frankly including Bruce Wayne as a child in the movie was not necessary.

Hildur Guðnadóttir composed a score that is both haunting and oppressive at times. AT times it feels like a score for a horror film as an atmosphere of dread haunts her score in anticipation of fell deeds. Cello solos are featured throughout as Guðnadóttir is herself a celloist who had worked on scores for Sicario, and also composed the score for its sequel Day of the Soldado

Todd Phillips knows how to direct drama well, considering this is his background has been in comedies such as The Hangover Trilogy. He certainly knows how to shoot his film and get everything he needs out of his actors. But his script and direction are not perfect. Much of the plot is predictable, especially when we know what the end result will be. There are a couple of double twists that work though. But the is also an unneeded shoe-horning of Batman lore in to the narrative.

Lawrence Sher’s cinematography can best be described as beautiful ugliness. The grime and worn look of locations and interiors look authentic for a world that is meant to look like it is rotting. Much of it is shot in real locations in New York and every stain of rust and hue of graffiti shows.

There has perhaps been too much talk about various controversies that are connected to this movie. From fears that it may inspire someone to go out and commit violent acts like a mass shooting or that it fuels the rage of incels, it seems as people were determined to see it fail for the sake of seeing it fail. In my opinion it does not do that. I would recommend not only seeing this film with an open mind and no pre-conceived notions of it being based on a comic book character, but to see it as a quality film. Comic fans may be disappointed. Good. They need their views challenged. I believe this film succeeds in challenging pre-conceived views of not just the Joker but comic book based movies. What Zack Snyder failed to do with his Ayn Rand influenced attempts at grim and dark deconstruction of Superheroes, Todd Phillips succeeds in his auteur deconstruction of a iconic villain. This movie is highly recommended.

Final Score: 8.5/10

 

 

 

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Review: Hustlers Will Shake You Down

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This is story about control
My control Control of what I say
Control of what I do
And this time I’m gonna do it my way
I hope you enjoy this as much as I do
Are we ready?
I am ‘Cause it’s all about control,
And I’ve got lots of it

Janet Jackson: “Control”

This is a movie about control. And it’s also based on a true story. Hustlers begins with the opening of Janet Jackson’s famous song, “Control,” playing and we are introduced to our main character, Destiny a new stripper at a high end New York strip club. She is literally taken under the wing of Ramona, a veteran of the club who shows her the ropes of the club. Money is easy to make under Ramona’s tutelage as many of their customers are wall street high high-rollers willing to drop hundreds — even thousands — of dollars in a strip club, for just seeing some T&A up close and personal. Things don’t go so well after the financial crash of 2008 and after some time apart Destiny is back working at the club but in thew shadow of the recession, business is no longer booming. That is until Ramona, Destiny and a few others decide to take matters into their own hands and go fishing for customers to hustle into spending large amounts of money in the club, maxing out their credit cards in drinks and tips. And folks, especially you guys out there (you know who I’m talking to), if you come to Hustlers expecting some titillating strip scenes with T&A all up in your face, you’re gonna get played — and rightfully so. This is an exceptional crime drama that seems to get a lot of its filmic influences from Martin Scorsese.

Side note. First of all, I’ve been to a few strip clubs, usually not sober, and I was not really into it. And most of the time the guys in the audience looked like they were just passing time. It was never like it is portrayed in the movies. Second of all, I did not know you could charge tips at a strip club. I’ve also only been to the low lying ones in my city, in neighborhoods most people would not want to wander into. Also, San Francisco had (and probably still has) weird laws about which clubs can serve alcohol and what the strippers can do.

It is without a doubt a crime film and is most reminiscent of Scorsese’s Goodfellas. The ladies are all likable and we especially end up caring most for Destiny, who is played by Constance Wu, and her family. Jennifer Lopez as Ramona is believable as the veteran and eventual ringleader of the group. And she turns in a strong performance as someone who is always working an angle. While we get much focus on them, we get only passing back stories for the rest of the crew, unfortunately. Destiny anchors film’s point of view character. She ends up representing the normal everyday girl that spirals into a lifestyle of crime.

This movie also makes it clear that even though crimes are being committed against these men, none of these victims are in the least bit sympathetic, except for maybe one.  In fact, you’d be hard pressed to find a sympathetic male character in the film. Most of these guys are the same Wall Street wolves that crashed the economy in 2008, and it’s made pretty clear they don’t deserve our sympathy in the first place. If you think this is a film that is some anti-male jeremiad then you are missing the film’s finer points. But if you are a man, you may just find yourself feeling stupid. “Oh, I’d never get fall for that hustle.” you may say. Yeah, you probably would. But you may also look at how you look at or treat women who work these jobs differently. That is not to say that they are all going to drug you and max out your credit card, but they are regular people trying to make it in a country that is just one big hustle. Unfortunately their way of making it involves ripping guys off of tens of thousands of dollars at a time. I may not be qualified to call this a feminist film, but it certainly is about a handful of women who seize control from men who typically have exploited them in all sorts of manners as shown in the film.

Once the hustling schemes are set, we get many, perhaps too many, montages of the scam. They find a mark, get him interested in the company of these beautiful women, he gets slipped a spiked drink, and one of them decides that it’s a good idea to go to the strip club. Next thing you know he’s spent thousands of dollars on a bar tab and tips. It is such an simple shuck that only men would fall for something like this. And once things get going good, we are treated to scenes, on top of the hustling scenes, of the girls living the life and spending money on bling like there’s no tomorrow. They even throw a Christmas party where they exchange overpriced gifts with each other.

The movie is framed in flashbacks as told by Destiny years later as she is being interviewed by a reporter. Julia Stiles plays the corresponding role of the reporter who wrote the original article from which the film is based on. You’ll end up getting the feeling that this is a confessional. Destiny frames and anchors this story. After all, this is her story. And through her, we get the most personal, especially her desire to take care of her elderly grandmother.

Wai Ching Ho, probably best recognized as Madam Gao from Netflix’s Daredevil, Iron Fist, and Defenders, play’s Destiny’s grandmother. She is probably the hippest Chinese grandmother I’ve ever seen. Playing against type, she is well aware of where the money comes from and is even there during the gang’s Christmas party having herself a good old time.

Rapper (and former stripper herself), Cardi B cameos as a fellow dancer at the club. Her role may have been played up more in the advertisement but she is not one of the main characters. Lili Reinhart has some great little bits of characterization as the nervous member of the crew who tends to nervously throw up every other scene.

Written and directed by Lorena Scafaria, who does not have a history of big budget productions, Hustlers has a look of a higher budgeted film than it’s reported $20 million. It was filmed on location in New York and apparently at a real strip club. Neither of these are cheap to do and it is a testament to the creative talent behind the scenes to milk not only a great look but a great sound to the movie. Much of the soundtrack are jukebox hits from Janet Jackson, Fiona Apple, Britney Spears, and even Lorde.

Hustlers may not revolutionize film. But I think having a deft female writer and director at the helm helps it serve up its story in a very entertaining manner without being exploitative in its adult subject matter. Lot of guys may not like it because they think they came for a big screen strip show, then get shown how dumb they can be.  That’s on them. Enjoy  the film for the crime drama that it is.

Final Score: 8/10