Talking Movies

October 6, 2019

Notes on Joker

Joaquin Phoenix’s turn in Joker was the film of the week much earlier today on Sunday Breakfast with Patrick Doyle.

Todd Phillips gets by with a little help from his friends; Martin Scorsese, David Fincher, Christopher Nolan, Alan Moore and Frank Miller. No joke, Joker will frequently leave you with your jaw on the floor as ideas, scenes, camera moves, style and sequences are lifted from other, better films. If you have seen The King of Comedy or Fight Club¬†or House MD you will be getting some severe deja vu. Joker is grimly impressive, from Mark Friedberg’s decrepit production design modelled on the awful appearance of NYC of the mid 1970s, to the artfully framed and held cinematography of Lawrence Sher imitating to a tee the work of Michael Chapman, Jeff Cronenweth and Wally Pfister, to the oppressive score from Hildur Gudnadottir which adds featured drums and horns to the Zimmer dissonant strings approach to the character. But all these production values can’t hide the emptiness of this enterprise. You show nothing of your own work Todd Phillips, how this film won a Golden Lion at Venice is amazing, as Marshall MacLuhan might say.

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