Phoenix is a great actor as people have said, todd phillips as the director though makes me think this probably won't be that good
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The Joker Movie starring Joaqin Pheonix October 2019 release
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Carbine Chaos
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The best Joker stories/graphic novels are pretty serious in content.
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Needs some more Marvel humour.
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Reactions should be making social media now. It premiered at Venice Film Festival
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Joaquin Phoenix's Joker film praised as a dark and twisted "masterpiece"
The reviews are in.
Lovely.
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I like this part of the review from Variety
[spoiler free]
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[spoiler free]
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Joker Receives Eight-Minute-Long Standing Ovation At Venice Film Festival
<p>With a little over a month to go until Joaquin Phoenix’s adaptation of Joker hits cinemas, expectations are mounting. Critics have called it a masterpiece, the first reviews have dubbed it the ‘most terrifying one yet,’ and now the upcoming film has received an eight-minute standing ovation...
www.unilad.co.uk
Can’t wait
Quivorir
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Who the **** stands and claps for 8 minutes?Joker Receives Eight-Minute-Long Standing Ovation At Venice Film Festival
<p>With a little over a month to go until Joaquin Phoenix’s adaptation of Joker hits cinemas, expectations are mounting. Critics have called it a masterpiece, the first reviews have dubbed it the ‘most terrifying one yet,’ and now the upcoming film has received an eight-minute standing ovation...
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Self important twats.
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Who's worse: film fest goers who give ridiculously long standing ovations, or dweebs who go onto imdb and give comic book movies 10s before they've even been released?
This film seems very appealing to both.
This film seems very appealing to both.
Universal praise from reviews at the moment.
Macpotata
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The new Joker movie provides a depressing glimpse at the future of cinema
Right now, the most buzzed-about film in the world is a low-budget period piece soaked in nihilism and self-loathing about a disturbed loner who lives with his mother and despises society. Despite arriving in a year otherwise dominated by family-friendly photocopies such as Aladdin and The Lion King, it is also expected to be one of 2019’s biggest commercial hits. And all because it’s vaguely related to Batman.
Joker, which premiered at the Venice Film Festival this weekend to an eight-minute standing ovation, is not, strictly speaking, a Batman movie. Joaquin Phoenix, in a sinewy, go-for-broke performance that has already earned Oscar speculation, is not playing the version of the Joker familiar to the Batman comic books nor any of his previous cinematic portrayals. While there are elements of Batman mythology on the film’s fringes, from its Gotham City setting to the presence of Bruce Wayne’s father Thomas, rewritten here as a monstrous Trump figure rather than the kindly billionaire of the comics, Joker is by all accounts a decidedly standalone entity. Indeed, its most overt connections to its source material are merely the use of messy clown make-up and a psychotic cackle. And yet, despite the lack of Batman, it’ll still be huge – and that’s potentially worrying.
© Provided by Independent Digital News & Media LimitedDistancing itself from less ambitious DC Films entries such as Batman v Superman: Dawn of Justice or Suicide Squad, Joker is closer in tone and aspiration to classic Scorsese. Both the gallows humour of The King of Comedy and the metropolitan isolation and anger of Taxi Driver have both been mentioned as the film’s clearest influences. Joker, unlike much of the modern comic-book movie genre, is also entirely a character study, a dark and violent voyage into the mind of a man left bereft by a broken society. It is exactly the kind of downbeat, character-driven and thematically ambitious studio movie that isn’t typically made anymore.
Its reported cost, $35m (£29m), is additionally the kind of mid-range budget that major film studios have become reluctant to spend – a typical modern studio film either made for pennies or hundreds of millions of dollars. But Warner Bros were willing to take such a gamble because of its star. Not Phoenix, who has never been able to open a movie on his name alone, but The Joker himself, a fictional character that has gone far beyond mere Batman villain and transformed into a one-man cult, mood and toxic lifestyle guru to internet trolls.
Joker, in comic-book movie terms, is a welcome next step for the genre, proving that these movies don’t need to continually exist as a series of vaguely identikit origin stories, supervillain transformations and battle sequences all indebted to the Marvel Cinematic Universe. No, they can also be weirdo standalone experiments, from storytellers with specific and singular visions, who have been encouraged to play rather than merely emulate. It is, in many respects, a good thing.
© Getty VENICE, ITALY - AUGUST 31: Joaquin Phoenix attends "Joker" photocall during the 76th Venice Film Festival at Sala Grande on August 31, 2019 in Venice, Italy. (Photo by Stefania D'Alessandro/WireImage,)But Hollywood also has a tendency to take the wrong lessons from its hit movies. It wouldn’t be surprising if Joker’s inevitable success leads the industry to assume that the only way to lure in enormous crowds to more offbeat work is to somehow make them comic book-adjacent, with masks, capes or superhero mythologies used as necessary fronts for odder, stranger stories. Because apparently no one would show up otherwise.
It all adds to a growing concern that much of film culture and the way we talk about film has been flattened by the box office dominance of Disney and superheroes – that their commercial power has reworked what we collectively constitute the pinnacle of film-making, and the most desirable and worthy methods to tell great and relevant stories. It’s in the calls to have filmmakers like David Fincher, George Miller or Dee Rees direct superhero movies, rather than wishing them to continue making singular work. And it’s in the recent Twitter fan-casting for a live-action reboot of Coraline, as if animation is now a mere second-tier pit-stop to an inevitable live-action remake. Joker, and what it represents, feels like a natural end point to that kind of conversation.
© Provided by Independent Digital News & Media Limited image
It should be said that absolutely none of this is guaranteed to happen. Joker may come and go, make money and then vanish, its sole legacy a run of standalone DC Comics movies anchored by villains or B-list Gotham City characters and directed by Hollywood auteurs. But there is already a feeling that Joker will mean more than that, as evidenced by the outrage over its less positive reviews, the claims that it depicts The Joker as the world’s “patron saint of incels”, and the pondering of what the film says about violence, society and masculinity. As much as we may want it to, Joker doesn’t seem like it’ll go quietly into the night.
This weekend, film critic Alex Billington of First Showing wrote a viral tweet that dramatically claimed “there will be before Joker and there will be after Joker”. “I don’t know if the world is ready for this movie,” he claimed. “It is gnarly. It is crazy. It is audacious.” It was a tweet that was immediately, and justifiably, memed and satirised. But in terms of what Joker will mean for the future of film-making, there is an uncomfortable, nagging glimmer of truth in Billington’s overzealous prophesying, just maybe not in the way he intended.
Pictures The Joker and more on-screen Batman villains
Yeah yeah cry me a river you ****ing w***er campaigner
Right now, the most buzzed-about film in the world is a low-budget period piece soaked in nihilism and self-loathing about a disturbed loner who lives with his mother and despises society. Despite arriving in a year otherwise dominated by family-friendly photocopies such as Aladdin and The Lion King, it is also expected to be one of 2019’s biggest commercial hits. And all because it’s vaguely related to Batman.
Joker, which premiered at the Venice Film Festival this weekend to an eight-minute standing ovation, is not, strictly speaking, a Batman movie. Joaquin Phoenix, in a sinewy, go-for-broke performance that has already earned Oscar speculation, is not playing the version of the Joker familiar to the Batman comic books nor any of his previous cinematic portrayals. While there are elements of Batman mythology on the film’s fringes, from its Gotham City setting to the presence of Bruce Wayne’s father Thomas, rewritten here as a monstrous Trump figure rather than the kindly billionaire of the comics, Joker is by all accounts a decidedly standalone entity. Indeed, its most overt connections to its source material are merely the use of messy clown make-up and a psychotic cackle. And yet, despite the lack of Batman, it’ll still be huge – and that’s potentially worrying.
Its reported cost, $35m (£29m), is additionally the kind of mid-range budget that major film studios have become reluctant to spend – a typical modern studio film either made for pennies or hundreds of millions of dollars. But Warner Bros were willing to take such a gamble because of its star. Not Phoenix, who has never been able to open a movie on his name alone, but The Joker himself, a fictional character that has gone far beyond mere Batman villain and transformed into a one-man cult, mood and toxic lifestyle guru to internet trolls.
Joker, in comic-book movie terms, is a welcome next step for the genre, proving that these movies don’t need to continually exist as a series of vaguely identikit origin stories, supervillain transformations and battle sequences all indebted to the Marvel Cinematic Universe. No, they can also be weirdo standalone experiments, from storytellers with specific and singular visions, who have been encouraged to play rather than merely emulate. It is, in many respects, a good thing.
It all adds to a growing concern that much of film culture and the way we talk about film has been flattened by the box office dominance of Disney and superheroes – that their commercial power has reworked what we collectively constitute the pinnacle of film-making, and the most desirable and worthy methods to tell great and relevant stories. It’s in the calls to have filmmakers like David Fincher, George Miller or Dee Rees direct superhero movies, rather than wishing them to continue making singular work. And it’s in the recent Twitter fan-casting for a live-action reboot of Coraline, as if animation is now a mere second-tier pit-stop to an inevitable live-action remake. Joker, and what it represents, feels like a natural end point to that kind of conversation.
© Provided by Independent Digital News & Media Limited imageIt should be said that absolutely none of this is guaranteed to happen. Joker may come and go, make money and then vanish, its sole legacy a run of standalone DC Comics movies anchored by villains or B-list Gotham City characters and directed by Hollywood auteurs. But there is already a feeling that Joker will mean more than that, as evidenced by the outrage over its less positive reviews, the claims that it depicts The Joker as the world’s “patron saint of incels”, and the pondering of what the film says about violence, society and masculinity. As much as we may want it to, Joker doesn’t seem like it’ll go quietly into the night.
This weekend, film critic Alex Billington of First Showing wrote a viral tweet that dramatically claimed “there will be before Joker and there will be after Joker”. “I don’t know if the world is ready for this movie,” he claimed. “It is gnarly. It is crazy. It is audacious.” It was a tweet that was immediately, and justifiably, memed and satirised. But in terms of what Joker will mean for the future of film-making, there is an uncomfortable, nagging glimmer of truth in Billington’s overzealous prophesying, just maybe not in the way he intended.
Pictures The Joker and more on-screen Batman villains
Yeah yeah cry me a river you ****ing w***er campaigner
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The article is just a big wank. Some critics said the same sort of things about Taxi Driver and many other films in the past.The new Joker movie provides a depressing glimpse at the future of cinema
Right now, the most buzzed-about film in the world is a low-budget period piece soaked in nihilism and self-loathing about a disturbed loner who lives with his mother and despises society. Despite arriving in a year otherwise dominated by family-friendly photocopies such as Aladdin and The Lion King, it is also expected to be one of 2019’s biggest commercial hits. And all because it’s vaguely related to Batman.
Joker, which premiered at the Venice Film Festival this weekend to an eight-minute standing ovation, is not, strictly speaking, a Batman movie. Joaquin Phoenix, in a sinewy, go-for-broke performance that has already earned Oscar speculation, is not playing the version of the Joker familiar to the Batman comic books nor any of his previous cinematic portrayals. While there are elements of Batman mythology on the film’s fringes, from its Gotham City setting to the presence of Bruce Wayne’s father Thomas, rewritten here as a monstrous Trump figure rather than the kindly billionaire of the comics, Joker is by all accounts a decidedly standalone entity. Indeed, its most overt connections to its source material are merely the use of messy clown make-up and a psychotic cackle. And yet, despite the lack of Batman, it’ll still be huge – and that’s potentially worrying.
© Provided by Independent Digital News & Media LimitedDistancing itself from less ambitious DC Films entries such as Batman v Superman: Dawn of Justice or Suicide Squad, Joker is closer in tone and aspiration to classic Scorsese. Both the gallows humour of The King of Comedy and the metropolitan isolation and anger of Taxi Driver have both been mentioned as the film’s clearest influences. Joker, unlike much of the modern comic-book movie genre, is also entirely a character study, a dark and violent voyage into the mind of a man left bereft by a broken society. It is exactly the kind of downbeat, character-driven and thematically ambitious studio movie that isn’t typically made anymore.
Its reported cost, $35m (£29m), is additionally the kind of mid-range budget that major film studios have become reluctant to spend – a typical modern studio film either made for pennies or hundreds of millions of dollars. But Warner Bros were willing to take such a gamble because of its star. Not Phoenix, who has never been able to open a movie on his name alone, but The Joker himself, a fictional character that has gone far beyond mere Batman villain and transformed into a one-man cult, mood and toxic lifestyle guru to internet trolls.
Joker, in comic-book movie terms, is a welcome next step for the genre, proving that these movies don’t need to continually exist as a series of vaguely identikit origin stories, supervillain transformations and battle sequences all indebted to the Marvel Cinematic Universe. No, they can also be weirdo standalone experiments, from storytellers with specific and singular visions, who have been encouraged to play rather than merely emulate. It is, in many respects, a good thing.
© Getty VENICE, ITALY - AUGUST 31: Joaquin Phoenix attends "Joker" photocall during the 76th Venice Film Festival at Sala Grande on August 31, 2019 in Venice, Italy. (Photo by Stefania D'Alessandro/WireImage,)But Hollywood also has a tendency to take the wrong lessons from its hit movies. It wouldn’t be surprising if Joker’s inevitable success leads the industry to assume that the only way to lure in enormous crowds to more offbeat work is to somehow make them comic book-adjacent, with masks, capes or superhero mythologies used as necessary fronts for odder, stranger stories. Because apparently no one would show up otherwise.
It all adds to a growing concern that much of film culture and the way we talk about film has been flattened by the box office dominance of Disney and superheroes – that their commercial power has reworked what we collectively constitute the pinnacle of film-making, and the most desirable and worthy methods to tell great and relevant stories. It’s in the calls to have filmmakers like David Fincher, George Miller or Dee Rees direct superhero movies, rather than wishing them to continue making singular work. And it’s in the recent Twitter fan-casting for a live-action reboot of Coraline, as if animation is now a mere second-tier pit-stop to an inevitable live-action remake. Joker, and what it represents, feels like a natural end point to that kind of conversation.
It should be said that absolutely none of this is guaranteed to happen. Joker may come and go, make money and then vanish, its sole legacy a run of standalone DC Comics movies anchored by villains or B-list Gotham City characters and directed by Hollywood auteurs. But there is already a feeling that Joker will mean more than that, as evidenced by the outrage over its less positive reviews, the claims that it depicts The Joker as the world’s “patron saint of incels”, and the pondering of what the film says about violence, society and masculinity. As much as we may want it to, Joker doesn’t seem like it’ll go quietly into the night.
This weekend, film critic Alex Billington of First Showing wrote a viral tweet that dramatically claimed “there will be before Joker and there will be after Joker”. “I don’t know if the world is ready for this movie,” he claimed. “It is gnarly. It is crazy. It is audacious.” It was a tweet that was immediately, and justifiably, memed and satirised. But in terms of what Joker will mean for the future of film-making, there is an uncomfortable, nagging glimmer of truth in Billington’s overzealous prophesying, just maybe not in the way he intended.
Pictures The Joker and more on-screen Batman villains
Yeah yeah cry me a river you ******* w***er campaigner
Movies have forever followed different trends which change over time.
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This looks awesome. Can't wait to see it.
That laugh.......
That laugh.......
Holy ****ing wow.
I can’t ****ing believe they made this movie. That it exists. It’s absolutely ****ing glorious. Make no mistake how dark this is. It’s no kids movie. It’s no Marvel movie. It’s ridiculously savage. And brutal.
No spoilers. I promise. It’s good. It’s ****ing damn good.
Joaquin Phoenix. Take a bow.
That score. I have no idea who the composer is, but I’ll sure as hell be looking up his/her work. That cello theme, just mesmerising.
Phoenix dancing to this sound is one of the great cinematic moments I’ve experienced in a very very long time. It’s cruel, brutal yet somehow majestic.
This is something else. DC have hit it out of the ****ing park. From the opening scenes, Phoenix had me. Phenomenal actor who somehow has gone to another level.
99.9% of this is just magnificent. I’ll wait till others see it before getting into the spoiler territory of the closing scenes which right now I don’t know how to feel about.
The tension at times is sinister and soul destroying, especially where he laughs through such awkward moments.
Some of the greatest Joker panels have been him looking exactly like Joaquin’s build in this. People forget how skinny Joker actually is under his attire. The gaunt face. Visible cheek bones. Collarbone, ribs.
It’s creepy as ****. Phoenix’s shirtless dancing, talking to himself, lost in his own mind, is ****ing sensational. Just amazing film making. Hats off to all involved
But do yourself a favour and see this. I’m amazed Todd Phillips convinces WB to make this, and make it his way. It wouldn’t have worked any other way.
I can’t ****ing believe they made this movie. That it exists. It’s absolutely ****ing glorious. Make no mistake how dark this is. It’s no kids movie. It’s no Marvel movie. It’s ridiculously savage. And brutal.
No spoilers. I promise. It’s good. It’s ****ing damn good.
Joaquin Phoenix. Take a bow.
That score. I have no idea who the composer is, but I’ll sure as hell be looking up his/her work. That cello theme, just mesmerising.
Phoenix dancing to this sound is one of the great cinematic moments I’ve experienced in a very very long time. It’s cruel, brutal yet somehow majestic.
This is something else. DC have hit it out of the ****ing park. From the opening scenes, Phoenix had me. Phenomenal actor who somehow has gone to another level.
99.9% of this is just magnificent. I’ll wait till others see it before getting into the spoiler territory of the closing scenes which right now I don’t know how to feel about.
The tension at times is sinister and soul destroying, especially where he laughs through such awkward moments.
Some of the greatest Joker panels have been him looking exactly like Joaquin’s build in this. People forget how skinny Joker actually is under his attire. The gaunt face. Visible cheek bones. Collarbone, ribs.
It’s creepy as ****. Phoenix’s shirtless dancing, talking to himself, lost in his own mind, is ****ing sensational. Just amazing film making. Hats off to all involved
But do yourself a favour and see this. I’m amazed Todd Phillips convinces WB to make this, and make it his way. It wouldn’t have worked any other way.
Lethality
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Yeah it's a really good one. i guess it's the Joker version of Logan, where the tone is so different it's almost like a story from a parallel universe.
Certain characters like Thomas Wayne are very different from the comic book, and as a result Bruce's origin story, while technically the same, takes on a different meaning.
My main criticism is that it's a bit too similar to Taxi Driver or something like that. But it's so well executed that I didn't care. Joaquin Phoenix does a great job in some scenes, is just ok in others.
My main criticism is that it's a bit too similar to Taxi Driver or something like that. But it's so well executed that I didn't care. Joaquin Phoenix does a great job in some scenes, is just ok in others.
Dan
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**** me
This scene. This moment. The haunting score. ****ing wow.
It will live with me for a long long time. Glorious.
It will live with me for a long long time. Glorious.
Ry009
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Really good movie, but those last 20 minutes were amazing.
The movie was essentially a build up to the final 20 or so minutes. The score, the acting and writing in the lead up to it was so well done. Use of graphic violence and swearing too also shows less is more as it just amplifies the impact. The moment he finally cracks and killed DeNiro's character, I legit gasped.
Using his blood from his mouth to create the iconic Joker smile was perfect.
Almost felt like an origin story to Gotham the city too, as it goes from being a city on the edge to a hotbed of crime like how it's commonly depicted in the comics. Really well done.
Felt satisfied though that this won't end up part of a wider movies series.
Using his blood from his mouth to create the iconic Joker smile was perfect.
Almost felt like an origin story to Gotham the city too, as it goes from being a city on the edge to a hotbed of crime like how it's commonly depicted in the comics. Really well done.
Felt satisfied though that this won't end up part of a wider movies series.
Agreed. All roads were leading towards it’s conclusion on the Murray Franklin Show. The homage to The Dark Knight Returns here is sensational, loved the fan service. The chilled way he spoke, between his teeth, just prior to shooting Murray. ****ing amazing acting.
There were many audible gasping moments in my session. A standout being stabbing his ex colleague with the pair of scissors in his apartment. So hard to watch, the savagery of this violence was something never seen in a movie like this.
The cinematography of Gotham another highlight. Excellent depiction of the distinction between the wealthy and the struggling. Loved how we finally got see those super rats in the background after the Wayne’s were gunned down.
For me, and this may seem a minor gripe. But I wished it ended 2 minutes before it did. Didn’t necessarily feel we needed that closing scene where it left open if it all was real or not. But not a dealbreaker overall for me. Fantastic movie.
I haven’t been able to get the image or music of Phoenix dancing/doing tai chi in that public bathroom. Haunting, disturbing, and yet beautiful. It’s one of the greatest moments in comic book films.
There were many audible gasping moments in my session. A standout being stabbing his ex colleague with the pair of scissors in his apartment. So hard to watch, the savagery of this violence was something never seen in a movie like this.
The cinematography of Gotham another highlight. Excellent depiction of the distinction between the wealthy and the struggling. Loved how we finally got see those super rats in the background after the Wayne’s were gunned down.
For me, and this may seem a minor gripe. But I wished it ended 2 minutes before it did. Didn’t necessarily feel we needed that closing scene where it left open if it all was real or not. But not a dealbreaker overall for me. Fantastic movie.
I haven’t been able to get the image or music of Phoenix dancing/doing tai chi in that public bathroom. Haunting, disturbing, and yet beautiful. It’s one of the greatest moments in comic book films.
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I should have known what I was getting in to when I showed spoiler.
Warning to anyone else: spoiler tags are being used properly.
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Warning to anyone else: spoiler tags are being used properly.
Sent from my iPhone using Tapatalk
vast
Hall of Famer
Agree on the score glad u pointed it out. Sounded a bit like last of us' score at times for brief moments. I loved how the same score which I guess is his theme was used to potray sadness then dread and even triumph through different parts of the film.
vast
Hall of Famer
Some the shots in this film are amazing and almost instantly iconic. My fav which was in the trailer and stood out there but looked even better on the big screen was of him smoking backstage just the look on his face everything.
He deserves all the praise he will get for his performance.
He deserves all the praise he will get for his performance.
