Todd Phillips' 'Joker,' the hotly anticipated DC Comics adaptation, world premiered in competition at the Venice Film Festival.
With ‘Joker,’ director Todd Phillips gives the comic-book movie a dark new Scorsese-esque spin.
Mainly, though, Arthur inhabits a realm of broken dreams, deep-seated traumas and increasingly warped, violent fantasies. Which is another way of saying that he is the latest troubled soul to be played by Phoenix, who delivers the kind of meticulously detailed psychotic breakdown that he does better than just about any American actor now working.
Those people drift in and out of his orbit, each one pushing him a step further toward his inevitable transformation. There are his fellow clowns at work, most of whom treat him abominably. There’s a down-the-hall neighbor who flashes him a sympathetic smile, and three young men in suits who find themselves alone with Arthur at a low point and bring him even lower. Robert De Niro turns up as Murray Franklin, a popular late-night TV host who becomes Arthur’s obsession and his bête noir.
The movie allows these rich ideas and associations to swirl around Phoenix, who just keeps laughing and seething and dancing and laughing and falling apart and laughing some more. Phillips holds the camera tight on his star, sometimes following him down long hallways from behind and often shooting him in slow-motion, while a cellist saws away mournfully in the background.
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