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Black Adam: The Dark Side of Heroes

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It’s no secret that the DC’s cinematic adventures in recent years have been inconsistent, at best. 

While entries like Aquaman and Shazam! have proven successful, others such as Wonder Woman 1984 and The Suicide Squad films have failed to hit with audiences. (And that’s not even addressing the two hotly-debated Justice League cuts.) Now, with the release of Black Adam, the DC Extended Universe attempts once again to refuel with renewed focus.

And, this time, they may have actually done it.

Black Adam tells the story of Teth Adam (Dwayne ‘The Rock’ Johnson), the iconic ‘champion’ of Kahndaq. Bestowed with the powers of the gods, Adam was believed to be the saviour of the nation but was imprisoned for nearly 5,000 years. However, when he is released from his earthly tomb by those in need of justice, Adam’s rage is unleashed upon the oppressors of his home country—and anyone else who stands in his way.

Directed by Jaume Collet-Serra, Black Adam is a wild and frenetic affair that eventually becomes one of the better entries into the DC cinematic universe. While the pacing is erratic at first, Black Adam has a fire in its belly that anchors the film and makes it compelling. Throwing the film on his massive shoulders, Johnson takes hold of the DCEU and supercharges it back to life. Even in moments when the writing feels inconsistent, Johnson’s natural charisma helps keep the film focused and moving forward with authority.

In addition to its titular hero himself, Black Adam also introduces the Justice Society into their cinematic canon. Featuring characters such as Dr. Fate (Pierce Brosnan), Hawkman (Aldis Hodge), Cyclone (Quintessa Swindell) and Atom Smasher (Noah Centenio), the Justice Society is well-known in the comics but are finally making their big screen debut. Admittedly, their inclusion does feels jarring as the script tends to assume that the viewer already knows these characters. This makes for a bit of a wonky start to the film instead of launching cleanly. However, the performances are so fun that one can’t help but welcome them into the action as the film unfolds. (It’s also worth noting that Hodge has some wonderful chemistry with Johnson as the two heroes clash over their different ideologies.)

Although Zack Snyder’s name is unattached, Black Adam feels as though it was made in his cinematic image. Featuring highly stylized violence and slow motion action sequences, Adam‘s visuals fit very neatly the DC world that Snyder established with Man of Steel and Justice League. As a result, Black Adam feels like somewhat of a course correct from Warner Bros. as they attempt to restore the faith of diehard fans of Snyder’s work, while still chartering a new direction for the franchise. (In fact, without any spoilers, it’s worth noting that the film’s post-credit sequence is certainly a signal that what has come before is far from erased.)

So, while WB remains unwilling to fully restore the Snyderverse, perhaps they intend to repair it? 

Although Black Adam seems to be one of the rare examples of the DCEU to have a sense of humour, the film is at its best when it’s not trying to joke around. Considering the gravitas that’s embedded within the heart of its central figure, the more serious moments are the ones that put the film at its best. Though he is begged to be a hero, Teth Adam has a heart fueled by a deep-seeded rage that stems from the scars of oppression and pain. 

To him, being the champion requires a willingness to not play by the rules. 

After all, for almost 30 years, the nation of Kahndaq has found themselves burdened under oppression and violence. From military checkpoints to flying hover sleds, the people are constantly under surveillance. (Incidentally, Kahndaq feels like a unique blend of the technological advancement of Black Panther‘s nation of Wakanda and the grounded realism of the modern Middle East.) Broken by subjugation, this is a culture that struggles to see the difference between right and wrong anymore, especially when one side claims to be doing things the right way. (“It’s easy to know what’s right and wrong when you’re the one drawing the lines of justice,” Teth Adam claims boldly.)

Interestingly, although virtually every other heroic character in the genre plays by some form of rules, Teth Adam is willing to break them all. Killing others without remorse, he constantly reminds those around him that he is no hero, even as they plead with him to become one. Although, ironically, this call to action seems to inspire the people. With Adam as their new ‘champion’, the people finally believe that they have someone who is hearing their cries. In him, they believe they have a model to reclaim power. 

After all, for Teth Adam, the best way to end oppression is to end the lives of the oppressors. 

Even so, Black Adam never loses its concern for the soul of its hero. Members of the Justice Society not only fight against evil, they also fight to redeem Teth Adam and his actions. They continuously cry for Adam to do the right thing, rather than succumb to his more violent tendencies. (At one point, Hawkman even warns him that “The more you give in to violence, the more it darkens your soul.”) But can one be heroic while allowing themselves to take the lives of others? This is the question that lies at the heart of Black Adam and actually makes it one of the more compelling entries of the DCEU. 

While Black Adam is far from perfect, there’s no doubt that it flexes its muscles. Fun and furious, Adamsupercharges the DC extended universe and actually brings enthusiasm for the next chapter of its story. Though often brutal, Teth Adam’s journey to save Kandahq is compelling in its character work and thrilling in its action sequences.

But, more importantly, he may have also saved the entire DCEU as well.

Black Adam is available in theatres on Friday, October 21st, 2022.

The Suicide Squad: War is a Funny Thing

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The sequel to 2017’s disastrous Suicide Squad, James Gunn’s soft-reboot The Suicide Squad also tells the story of a ragtag group of villains and maniacs with unique abilities who are forced to work together by the America Government. If they are able to survive this suicide mission, they get reduced jail time. Disobey an order though and their head blows up. This time, their team consists Harley Quinn (Margot Robbie), Bloodsport (Idris Elba), Peacemaker (John Cena), King Shark, a giant CGI shark-man (voiced by Sylvester Stallone) and other crazy characters thrown in the mix like a living human weasel and Mongal, an alien warrior from another planet. Their mission is to destroy Jötunheim, a Nazi-era prison located in Corto Maltese, South America where alien experimentations are being used by its new evil dictators. 

The Suicide Squad is James Gunn at his absolute best. This is a film that really feels like an R-rated Guardians of the Galaxy (which is definitely a good thing). Picking James Gunn as the writer/director was a great decision for the WB and the difference in quality between the first Squad film and this one is night and day. Widely panned by critics and audiences, the first film felt like it was made by Hot Topic. Overstuffed by character backstories with limited action scenes and, lest we forget, the worst depiction of the Joker ever, 2017’s Squad was a tremendous let-down for the company. However, in Gunn’s vision for Squad, we jump right into the action and craziness, where half the team gets decimated within the first 5 mins of the movie. (It really is a Suicide Squad…) Gunn’s voice is nuts, often unexpected, and truly fitting of a rated-R movie. 

In addition, unlike the first film, Gunn’s film really isn’t trying to take themselves too seriously. Gunn clearly understands how insane both the premise and some of these characters are. For instance, there’s one really epic scene where King Shark rips a guy in half with his bare heads in slow-motion while lighting strikes in the background. (And that’s not even the craziest part of the movie!) This Squad also contains a woman that controls rats, Harley’s epic escape from prison and Bloodsport’s shooting through someone else’s bullet. That sort of high intensity action pairs really well with the comedy that James Gunn loves throwing into his films like Polka-Dot Man’s deep hatred for his mom that runs so deeply that he sees her everywhere. 

The underlying theme of The Suicide Squad seems to be a criticism of American nationalism and the smoke and mirrors that the American image upholds. This idea is best symbolized through Amanda Waller and John Cena’s character, Peacemaker. Decked out in the classic red, white, and blue colors of America, Peacemaker has dedicated his heart for “liberty.” Both characters are willing to do whatever they can to preserve the image of America as ‘for the people, by the people’ and the nation that all others should aspire to be. Of course, this is all a delusion but both characters act to try to preserve this false image simply because it’s something that they were led to believe. They truly think what they’re doing is right, despite being on both sides of the propaganda. 

The Suicide Squad further delves into its critique of the US by mentioning how many South America countries have been ravaged by them during the Cuban Missile Crisis. Similar to the way that Corto Maltese was used to store illegal human experiments using the alien starfish, so too did the US use Cuba for their nuclear weapons in the 1960s. In an example of toxic American nationalism, Waller and the Peacemaker will do whatever it takes to preserve US interests, even at the expense of poorer and less developed countries.

Overall, The Suicide Squad is the rag tag team of villains that we deserved (and needed). Director James Gunn is allowed total freedom here and looks like a genius. Not only is the action exceptional (and plenty) but the comedy is incredible and works so well with the characters they have.

The 4K UHD combo pack contains a gag reel of ridiculousness, three themed trailers, commentary from Gunn, deleted and extended scenes, four “scene breakdowns,” and four featurettes: “Gotta Love the Squad,” “The Way of the Gunn,” “Starro: It’s a Freakin Kaiju!” and “Bringing King Shark to Life.”

Zack Snyder’s Justice League: Reborn Film Finally Does Justice to the Franchise

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You could forgive me if I doubted.

After years of hearing about the mythological ‘Snyder Cut’, there was simply no way that this film could meet expectations. After all, the original film was such a tepid piece of fodder that there was simply no way that a few tweaks or additional scenes could self-correct a franchise that had fallen so far off the rails. Now, with a refreshed budget and a new home on HBOMax and Blu-ray, Zack Snyder’s Justice League has finally arrived. 

And I admit that I was stunned by the results.

The details of the Snyder Cut’s resurgence has been well-documented. Determined not to copy Marvel’s roadmap to success, DC chartered their own path that rushed the process. By the time that The Avengers came around, standalone films had charted a path that allowed audiences to connect with the characters before they attempted to work together. Falling behind in the box office, the release of Batman v. Superman: Dawn of Justice gave DC the chance to try and regain some traction in the pop culture world. In their attempt to speed up the process, they threw their characters into films without any proper introductions. Whether they were attempting to ‘catch up’ to Marvel or simply afraid of being accused of ‘copying’ Disney’s juggernaut franchise, the result was a middling mess of confusion that left no time to create something special. 

After Joss Whedon’s cut of the Justice League failed to catch on with audiences, WB may have thought they were free of the franchise with a chance to reboot things once again. However, they underestimated their fans. After an unprecedented fan campaign that lasted three years and a hashtag (#ReleaseTheSnyderCut) that simply wouldn’t die, WB found themselves portrayed as the villains of a fiendish plot to suppress a director’s vision. Even so, they held firm to their comment that any other version for the film simply did not exist.

All that changed with the creation of HBOMax. Even if Snyder had been able to complete the film initially, there’s simply no way that the WB would have allowed a four-hour cut to be released in theatres, especially for a franchise that had been viewed as flailing. Although, with the move to streaming, Snyder suddenly had the opportunity to lean in to his longer take on the film. All of a sudden, he had the time (and freedom) to tell the story his way. Given more space in the world of digital media, Snyder’s League feels less like a theatrical release and more like the first chapter of a mega mini-series event. At a time when binge-watching has taken over the ‘theatrical experience’, Zack Snyder’s Justice League leans into our current obsession with long-form storytelling, complete with ‘chapters’ marking breaks within the film. 

Most importantly though, what about the quality of the film itself? 

The truth is that it’s good. Very, very good. 

Shockingly good, really.

In the new cut, Zack Snyder’s Justice League picks up immediately following the events of Batman v. Superman: Dawn of Justice. After Superman’s (Henry Cavill) death, the world is left with a need for heroes. As such, Batman (Ben Affleck) and Wonder Woman (Gal Gadot) begin building a team of super-humans who will stand together against an ancient evil that is preparing to return and exact revenge on humanity. 

Although I have never considered myself a ‘Snyder-apologist’, one can’t help but recognize the quality of his epic saga. The ‘director’s cut’ is far from a new concept in our culture. Even so, the extent of these re-edits usually amounts to a few additional scenes or some updated special effects. In the case of the new League, Snyder offers an almost entirely different story with new subplots and expanded character beats.

In fact, it’s not an exaggeration to suggest that it improves on the original theatrical cut in virtually every way.

While Whedon’s original film attempted to ‘lighten’ the tone with more quips and less exposition, that vision never truly fit with the world that Snyder had already created. Marked by rushed character arcs that never satisfy and a bland villain, the original film rarely works. Nevertheless, with the move to HBOMax, Snyder’s version has the proper time to explore the stories of new characters without betraying the larger superhero story. Though this saga would obviously have benefited from prior stand-alone films, Snyder’s League does its very best to compensate by giving meaningful backstories to its new additions, especially Ray Fisher’s Cyborg. Once a side character with little relevance, Cyborg has suddenly become the film’s emotional core with an arc that has a significant impact on the outcome of the story.

In addition, the most notable change comes through a more fully realized villain in Steppenwolf. Whereas Whedon trimmed the brute’s story down to almost nothing, Snyder’s new footage offers a meaningful role to the character. Instead of a standard ‘big bad’ who’s forgettable (at best), the new League highlights his motivation and relationship to the larger impending force of nature in Darkseid. As a result, not only does Steppenwolf become more interesting to the viewer but his actions simply make more sense. (What’s more, new special effects give the character a much more menacing look, a factor that was lacking in the original cut.) 

Of course, it’s also important to know that the film ends on an enormous cliff-hanger. Originally conceived to be the first of three films, League operates in grand strokes but never fully concludes. (For the record, Snyder has currently stated he has no intention of returning to the world.)

What’s more, despite its overall quality, this League will not likely win any new converts from those who struggle to connect with Snyder’s vision. Although it goes without saying that this a vastly improved version of the film, all the Snyder-isms that will cause derision remain front and centre. Off-putting to some for his showmanship, there’s little question that his visual polish drives his work. Featuring a litany of stylized effects, slow-motion action and dark, gritty story-telling, League is Snyder is at his free-wheeling best yet he will still likely alienate viewers who are looking for something more along the lines of Marvel’s lighter, more humorous tone.

However, these vast differences are all very intentional. Whereas Marvel has taken a much more scientific or ‘human-centred’ approach to their content, Snyder’s vision for the DC Universe has always included viewing these heroes as modern gods. Though Marvel seems to create heroes on par with mankind, Snyder views characters like Superman, Batman and Wonder Woman as super beings who have been sent as examples to inspire humanity to greatness. (One need not look further than the giant monument to Superman to see that this is true.) There’s a deep admiration for his characters within Snyder’s work that hints at the spiritual longings of a culture looking for heroes. As such, his vision for the League meets every superhuman act with a grand crescendo. Bursts of electricity, clangs of metal and a bombastic soundtrack give the film an epic scale that highlights his vision. To Snyder, the DC Universe is an example of our modern mythology and, as such, he is unapologetic in his reverence for the material.

With the release of his ambitious superhero opus, Snyder truly does come out as the winner here. With grandiose storytelling and vastly improved character arcs, Zack Snyder’s Justice League shows what the director can do when given the time (and money) to bring his vision to life. As a result, this reborn League certainly feels like the unexpectedly epic conclusion that this chapter of the DCEU (and Snyder himself) needed.

That is, until #RestoreTheSnyderVerse takes effect.

Zack Snyder’s Justice League is available to stream on HBOMax and on Blu-ray. The special feature included is “Road to Justice League” as Snyder reflects on the three DC films he made for Warner Bros.

Wonder Woman 1984: Be Careful What You Wish For

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What’s your greatest wish?

Whether it’s world peace, romance or even just ‘more wishes’, everyone has something that they would ask for if given the chance. But what are you willing to sacrifice to get it? 

This is the primary question behind Wonder Woman 1984 (or WW84), the follow-up to Patty Jenkin’s 2017 blockbuster that revived a flagging DC cinematic universe. Once again directed and co-written by Jenkins, WW84 is bombastic blast of colour that never loses the character moments that gives this franchise its heart. While it isn’t as ground-breaking as its predecessor, WW84 is still a thoroughly enjoyable follow-up that continues the journey of the Amazonian princess and solidifies her as one of the great cinematic superheroes of the modern age.

Set amidst the vibrant and sleek 1980s, Wonder Woman 1984 finds Diana Prince (Gal Gadot) keeping a low profile amongst the mortals that she loves so dearly. Working as a museum curator, she only steps into the heroic limelight if she can do so without public acclaim. However, when an ancient artifact with magical abilities draws the attention of the smarmy businessman Maxwell Lord (Pedro Pascal), Diana must not only face off against a growing evil but her own battle with temptation as well.

Though this is a film that truly does deserve the big screen treatment, it is significant that WW84 followed through with its 2020 release date, even if it must be on demand instead of its planned theatrical rollout. (Honestly, who could’ve expected that this would be the only superhero epic that we got to see this year?) With its bright colours, infectious energy and positive messages, it’s fair to say that this may be the blockbuster that we have been waiting for in 2020. (No offense, Tenet.) While one would be hard pressed to say that this film were gritty or self-reflective in any way (again, read: Nolan, Christopher), WW84 still proves poignant as it emphasizes the importance of living in the truth of the moment as opposed to clinging to false dreams or ‘what-if’ scenarios.

For her second time leading the franchise, Jenkins’ work in WW84 continues to impress. As only her third feature (!!), she understands the sort of character development required to engage the audience without losing the impact of the action sequences. Given the setting, this is a film that leans heavily into nostalgia, even in its set pieces. (In fact, even an early fight scene in the mall feels like a campy throwback to the very earliest of superhero films like Superman: The Movie) Keeping the tone light throughout the film, Jenkins allows the fun to shine brightly yet still manages to give the drama some real emotional stakes. (Heck, she even manages to bring back the deceased Steve Trevor in a way that feels justified within the film.)

With every turn as the character, Gadot grows more confident and comfortable in the role of Diana Prince. What’s more, her onscreen chemistry with co-star Chris Pine continues to ground their characters, as they support and challenge one another in various moments. (In fact, in an interesting twist, WW84 actually flips the dynamic between the two characters from the first film, with Pine’s Trevor as the somewhat naïve soul learning from the more confident and self-aware Diana.) However, the real surprise of the film is Wiig who clearly relishes the opportunity to take on the role of villain. Known for her comedic work, Wiig’s performance feels familiar at the film’s outset as the awkward and self-conscious Barbara Minerva. However, as the film progresses, Wiig truly settles into the role, imbuing Barbara with a dark ambition that makes her a suitable foil for Gadot’s Diana.

Whereas the film’s ‘period setting’ admittedly felt gimmicky when details of the sequel were first announced, it’s extremely appropriate for the film. Set at the height of the ‘Me Generation’, WW84 makes good use of the psychology of self-improvement and selfishness that defined the 80s. Drenching the film in golden colours throughout much of the film, Jenkins leans into this notion of self-indulgence by creating a visual world of luxury that would make King Midas jealous. At a time of financial excess and an obsession with the ‘image’, this was an era that sought to teach us that who we were was never enough and to always reach for more. (“Life is good, but it could be better,” Lord repeats.) 

However, without giving away any spoilers, it’s worth noting that WW84 recognizes the damage of this greediness and its effect on others. For every wish that’s fulfilled, there comes a cost to be paid by the person who makes the request. The more one leans into their own selfishness, the greater the impact on those around them. As such, the film calls for global humility in order to survive and serves as a reminder that self-sacrifice is required by all in order to heal the world. (Again, a much-needed commentary during the current pandemic.)

Fun and enthusiastic, Wonder Woman 1984 sparkles with joy. Rather than use the sequel to create a ‘darker’ entry into the franchise, Jenkins continues to allows heart, love and reason to win the day. In essence, WW84 is a film about finding contentment in the moment despite our circumstances and working together to build a brighter future.

And, in 2020, what more could you want?

“Wonder Woman 1984” 4K UHD Combo Pack and Blu-ray includes special features “The Making of Wonder Woman 1984: Expanding the Wonder,” “Gal & Kristen: Friends Forever” and “Gal & Krissy Having Fun” about its two stars; “Small But Mighty,” two scene studies, “Meet the Amazons,” the “Black Gold” commercial; a gag reel; and the WW1984 retro remix.

7.15 Restoring the Universe in ZACK SNYDER’S JUSTICE LEAGUE

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After Joss Whedon’s Justice League failed to catch on with audiences, those committed to seeing Zack Snyder’s original vision brought to completion began the most extensive fan campaign that Hollywood has ever seen. Featuring hashtags, billboards and even renting a plane, #ReleaseTheSnyderCut seemed like a passionate but empty pursuit. However, after four years and an additional $100M, Warner Bros. has finally released the Snyder Cut onto HBOMax. Clocking in at over four hours long, Zack Snyder’s Justice League has new effects, new characters and a more fully-developed script… but does that truly make it any better? This week, Victor Stiff (host of YouTube’s Dope Black Movies) and Dave Voigt (podcaster and founder of InTheSeats.ca) stop by to debate the value of the Snyderverse, the nature of heroism and the differences between Marvel and DC.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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7.10 The Truth about WONDER WOMAN 1984

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Widely regarded as one of WB’s greatest achievements, 2017’s Wonder Woman was a landmark film that broke records and was celebrated throughout Hollywood. Now, with the release of Wonder Woman 1984, the Amazonian princess returns with… less fanfare. Divisive from the moment of its release, WW84 sees Diana in the heart of the ‘Me Generation’ of the 1980s as she attempts to defeat the villainous Max Lord and Cheetah. This week, returnees Deb ‘Wonder’ Whalen and Gary Blaze stop by to talk about the film’s depiction of greed, its understanding of truth and why it has struggled to connect with audiences.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Joker & What It Says About Us

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your sunday drive podcast

Did you see Joker? What did you think of it?

In this episode of the Your Sunday Drive podcast, we take a close look at the movie Joker and the zeitgeist surrounding it. Topics and questions include: Why the film is controversial; does it glamorize an evil character? is it a good film?; related fears of mass shootings; “incels” and if Joker is about them; does art reflect life or vice versa?; what role does the media play?; do artists share responsibility for the effects of their messages?; freedom of speech and “cancel culture;” Joker as a “Christ figure” and the longing for redemption in art.

Come along for Your Sunday Drive – quick conversation about current events, politics, pop culture and more, from the perspective of a couple of guys trying to follow Jesus.

Hosts: Matt Hill and Nate Polzin. Presented by the Church in Drive of Saginaw, MI, as often as possible. Please visit churchindrive.com and facebook.com/thechurchindrive



6.02 Dancing with Danger in JOKER (100th Episode!)

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In a wild left turn for the DC film universe, director Todd Phillips’ latest film JOKER takes us back to Gotham City in order to witness the birth of the Clown Prince of Crime. When we first meet the titular villain, his name is Arthur Fleck, a failed comedian who has been isolated, bullied and disregarded by society. As things begin to unravel in his life (and his mind), Fleck begins a slow descent into madness as he transforms into the iconic DC villain known as the Joker.

This week, in our 100th episode, our SF team tells us what the site means to them, we announce a VERY special giveaway and Paul and Julie Levac stop by to talk about the dangers and brilliance of Todd Phillips’ foray into criminal madness.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

GIVEAWAY! In order to enter our giveaway for a $100 gift card for the movies, please do the following:

  1. Answer the following question in the comments section: Who is your favourite DC Villain?
  2. Like/Share this episode on Facebook, Twitter and Instagram
  3. For a bonus entry, rate/comment on us on iTunes.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Joker: Laughing on the Outside

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In Joker, failed comedian Arthur Fleck (Joaquin Phoenix) works as a clown to pay the bills and lives at home with his sickly mother. Beaten down by a society coming apart at the seams, Fleck struggles to maintain a positive outlook yet desperately wants to make people laugh. Struggling to find his way, Fleck soon begins to act out his frustrations in increasingly violent ways as he slowly transforms into the criminal mastermind known as the Joker.

Written and directed by Todd Phillips, Joker feels like an unexpected twist in his career trajectory. With films such as The Hangover trilogy and Old School leading his portfolio, an exploration of the dark underbelly of humour may seem like a vast departure from his previous work. In many ways, however, Joker also feels like a nature progression. Whereas many of his previous films have dealt with middle-aged men working out their emotional issues through the use of humour, Joker simply flips the switch by digging around in the psychology under the laughter instead of focusing on the gags themselves. While the film is bound to be divisive due to its dark themes and violence, Phillips has created a character arc so compelling that every scene feels like a vital piece to the most complicated of mental puzzles. 

Added to the mix is Joaquin Phoenix who absolutely shines as the hopeful but hurting Fleck. Over the years, the character of the Joker has provided multiple actors opportunity to push themselves and, thankfully, Phoenix carves out his own unique place in the canon. In an Oscar-worthy performance, Phoenix is simply mesmerizing as the failed comedian, giving him a likeable quality amidst his brokenness that makes you want to root for him (until you simply can’t anymore). Without question, Joker is very much the hero of his solo film—but the nature of that heroism eventually gets called into question.

Whereas the Joker has been often presented as a mysterious ‘force of nature’, here he is very much a product of his culture. Living in the slum-like Narrows of Gotham city Fleck’s life is a comedy of errors. Bullied for his job as a clown and living with his mother, Fleck has dreams of making other people laugh as a stand-up comic. His mother waits faithfully for a severance check from the wealthy Thomas Wayne that will never come. He’s in love with the beautiful tenant across the hall who may or may not be interested in him. Like the rest of those in the Narrows, success for Fleck is something that is constantly in view but just out of reach. While he’s constantly laughing on the outside, there’s little joy within him. (Interestingly, in one of the more intriguing story points for his character, his constant laughter stems from a medical condition that causes him to do so regardless of what’s happening around him.) For Arthur Fleck, life is no joke as his desire to matter in the eyes of others is consistently spat upon by the world. 

What’s more, this perspective echoes the film’s portrayal of Gotham itself, choosing to look at life through the eyes of those who are struggling to get by each day. Set years away from the arrival of the Dark Knight, Gotham is at a tipping point as the rich become richer and the poor more helpless. Anger and frustration run deep within those living in the Narrows as they become viewed as ‘troublemakers’ and yes, ‘jokers’ instead of people in need. Even Thomas Wayne, who has been painted in previous visions as a saint who wanted to see the city thrive, is skewed here as an irrelevant billionaire who remains out of touch with the common people. 

In Joker, hope remains out of reach for much of the city. In a city that mirrors the broken spirit of American culture, the 99% have grown angry with their way of life and want desperately for their voices to be heard. Then, when an unknown attacker kills three businessmen on a subway, tensions within the city begin to bubble over as talk of revolution hits the streets. 

In light of this, the most terrifying aspect of the film stems from its realism. Instead of chemical transformations or superpowered villains, Joker shows what can happen when a city loses its grace for the downtrodden of humanity. Although Fleck’s actions become reprehensible, they stem from his inability to process the abuse of a culture that has turned its back on him. “I used to think my life was a tragedy,” he moans, “but now I know that it’s really a comedy.” Light becomes lost in a world that has succumbed to the shadows and Joker gleefully dances into the darkness. (Is it any wonder that the film has been referred to by Phillips as a ‘cautionary tale’?)

Despite its bleak outlook on the world, Joker truly is one of the years best and most creative films. Phoenix’ performance as the Clown Prince of Crime may take him to dark places but there remains a brokenness within him for much of the film which humanizes him. Pressure from all sides to succumb to a culture of despair, Arthur Fleck’s journey is less of a comic book film and more about what happens when a world fails to listen to those who need it most.

And the outcome of that is no laughing matter.

Joker laughs its way into theatres on Friday, October 4th, 2019. 

TIFF ’19: Joker

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In Joker, failed comedian Arthur Fleck (Joaquin Phoenix) works as a clown to pay the bills and lives at home with his sickly mother. Beaten down by a society coming apart at the seams, Fleck struggles to maintain a positive outlook yet desperately wants to make people laugh. Struggling to find his way, Fleck soon begins to act out his frustrations in increasingly violent ways as he slowly transforms into the criminal mastermind known as the Joker.

Written and directed by Todd Phillips, Joker feels like an unexpected twist in his career trajectory. While the film is bound to be divisive due to its dark themes and violence, Phillips has created a character arc so compelling that every scene feels like a vital piece to the most complicated of mental puzzles. Added to the mix is Joaquin Phoenix who absolutely shines as the hopeful but hurting Fleck. In an Oscar-worthy performance, Phoenix is simply mesmerizing as the failed comedian, giving him a likeable quality amidst his brokenness that makes you want to root for him (until you simply can’t anymore).

Despite its bleak outlook on the world, Joker truly is one of the years best and most creative films. Phoenix’ performance as the Clown Prince of Crime may take him to dark places but there remains a brokenness within him for much of the film which humanizes him. Pressure from all sides to succumb to a culture of despair, Arthur Fleck’s journey is less of a comic book film and more about what happens when a world fails to listen to those who need it most.

Joker had its North American premiere last week at the Toronto International Film Festival and laughs its way into theatres on Friday, October 4th, 2019.