Joker is, as a critique of the government's handling of mental health and the subsequent social stigma surrounding it, a bonafide masterpiece.

Rating: 10/10 (7 October 2019)

I was originally sceptical of the Festival hype surrounding Joker. I was absolutely and unequivocally blown away. Following actors like Jack Nicholson and Heath Ledger, the expectations were high for Joaquin Phoenix - he overachieved. Phoenix's Joker is both similar and different to that of Nolan's The Dark Knight, however it is through the differences that the story really comes to fruition. While the two can be compared in terms of their physical appearance (worn-away makeup, slicked-back green hair), they are, obviously, distinctively separated in terms of their genres, leading Phoenix's portrayal to be one of an extreme introspection, with more revealed, perhaps, in what is not said, but what is shown by the character. Robert De Niro fits seamlessly into Phillips' film as Murray Franklin, embodying the Talk Show Host that America has been familiar with now for what seems like eons. Drawing on the likes of Scorsese's King of Comedy and Taxi Driver, Marty's influence on this film is undeniable. The parallels that can be drawn between Travis Bickle and Arthur Fleck are indisputable, and similarly portray the notion that societal isolation can irreparably damage its victims. This film is unquestionably worthy of its R rating, with scenes evoking extreme violence. However, these scenes serve as essential for the characterisation of Fleck, and are demonstrative of his gradual decay into madness. Those who have seen the film and consider it boring are, perhaps, more used to being overstimulated by the likes of the Marvel movies, in which special effects and CGI dominate over the true narrative. This character study had a budget of 50 million, and, despite the lack of overt effects, is stunning in design. One scene that is brought to mind is before Fleck's entrance onto the Murray Franklin Show, behind the curtain, where Phoenix's unnerving dancing is accompanied by the flawless score of Hildur Guðnadóttir, which is undeniably haunting and serves in itself as a piece of art. While the film itself may not win the Oscar due to the Academy's bias against movies involving comic-book characters (except when there is political motivation), Phoenix, without question is deserving of his first Best Actor, which is surprising after his once-in-a-generation type performances in The Master, Her, and Walk the Line. His performance in this film is indubitably his chef d'oeuvre, and it would be a great tragedy if he lost. Or would it be a comedy?