Shoot The Flick

Joker (2019)

This week we start Spooky month by covering the award winning movie Joker!! With its sequel coming out how do we feel about the original and does it still hold up? Will this batman-less movie be a bad joke? Tune in to find out as we SHOOT THE FLICK!!!

Duration:: 1h 9m
Broadcast on:: 02 Oct 2024
Audio Format:: other

- ♪ I go blue me ♪ ♪ As a life of bad and fun ♪ ♪ To be blue me ♪ - Hey there, and welcome to Shoot's Buff lick. I'm Frankie Sparks. - And I'm Scott Eisenberg. - And we are a married couple like to shoot the shit about movies. - That we do, that we do. - Ooh. - Ooh. ♪ It's boopie-bun ♪ - It is. - It has returned. We have returned after I tumbled down the rabbit hole that is lost. - We have been found. - We have been found, and we are here. It's October, so it's scary movie time. - So Percatory was hell. - Sure. It occurred to me before we started recording this episode. The closest thing we've done to a scary movie this year, up to this point, has probably been "Smart House." - Yeah. - Or the mummy. - Yeah. - But it's fine now. We're fine now. We're here, it's boopie time. - Ah. - We wanted to kick things off with a little bit of a special episode. We are going to re-watch a movie that's pretty recent. - And it's getting a sequel. - It is. - Scotty, what movie did we watch today? - Well, we went back five years ago, and we watched "Choker." - Released in 2019, a very controversial, Oscar nominated film. - Yeah. - There's lots to say. - Good and bad about this film. - Yeah. - I remember we saw it in the theater when it came out, and it was fine. Rewatching it has given us kind of a confirmation of our thoughts back then, that the movie is fine. However, because it is so clearly fishing for Oscars and awards a claim, it is a very lofty way to say stuff that has been said before, and the movie insists upon itself, as Peter Griffin once said about "The Godfather." It insists upon itself. - Yeah, honestly, the only thing I strongly remember from when we saw it the first time is how bad a movie experience we had with it. - Well, okay, but this is a very personal thing. I remember there were some snat-nosed fucking incel kids next to us that were like playing with their-- - Water bottles. - Yeah, and just being ornery and annoying. But you know, the movie, the movie itself is fine. - Todd Phillips. - Oh no, we're kicking it right off, huh? - Yeah, Todd Phillips is an okay director. - Yes, I would say he is also just fine. - Like, he did the hangover movies. - Yeah, among other things. But he's known mainly for those. - For comedies and such. - I remember when my first saw the hangover, and I was like, "Wow, that was really fun." And then I saw it again, and I'm like, "That wasn't as fun as the first time I watched it." - Yeah. - And then I saw the third time, and I'm like, "That was even less fun." Now I feel like that's how I feel about Joker. - Yeah, I'd say that that's a fair assessment. Of course, the Batman villain, the Joker, was created by Bob Kane, Bill Finger and Jerry Robinson, and first appeared in the debut issue of the Batman comic in April of 1940. It's a very iconic villain. It's been portrayed many times by many different folks over the years in film and whatnot in television, cartoons and things. So we did feel like it would be a great way to kick off Spooky Month, considering also that the sequel is coming out, starring Lady Gaga as Harley Quinn. We haven't seen it yet, obviously, because it hasn't come out. - Yeah, so it's come out this weekend. - I don't think anybody has particularly high hopes for this, including myself, which is a bummer, 'cause I love the Gaga. I adore the Gaga, but it's not looking good for the movie. - I think we were more excited until we saw the trailer. - Yeah, it's looking grim and like, it's strange the way also that they've marketed the movie when they were shopping it around at the festivals and stuff. And in interviews, Todd Phillips and The Gang over there are like, "Oh no, it's not a musical, please. "Please, incels, go see the movie, please." I mean, it's not a real musical. People just sing sometimes. So a musical, I don't know, it's strange. Lady Gaga just came out with a companion album, which is just basically her singing covers like she does smile, and that's life. ♪ That's life ♪ ♪ That's what people say ♪ ♪ You're riding high in April ♪ ♪ Shot down in May ♪ - You know, that's the vibe that we're going for here. From what I understand about the movie too, it's like, it's just kind of a hot mess. And it's funny because, you know, lofty fucking fancy pants walking in Phoenix debased himself to do this fucking superhero movie, which is what it is, okay? You put lipstick on a pig, it's still a pig. It's a fucking superhero movie. Bruce Wayne is in it, shut up. - For half a second. - Yeah, and then but also walking was like, "Ugh, I would never do sequels. "I'm an actor, I would have debased myself to do a sequel." And then they're like, "Money, please, money." So much money. And then he's like, "Okay, fine, I'll do it." - Yeah. - So, I don't know, I don't have high hopes, but we're gonna go see it anyway. - For science. - Even like Gaga or Harley that we've seen, very little of, I just don't know. I don't know what we're walking into with that movie. Hopefully it's good. - Yeah, I think if anything, our expectations will be low going in. So maybe they'll be exceeded and we'll leave happy, but otherwise we'll just leave knowing that we were right, that it wasn't good. So either way, we'll be okay. But yeah, like early, early, early, early, early, early, early, oscary predictions where that she was gonna get a nomination, Gaga, and I doubt that's gonna happen now. - Maybe a rassy nomination, who knows? - Yeah, also, we're still, you know, as we're recording this, we're still coming pretty fresh off of our viewing of Megalopolis in theatres, which speaking of razis, ooh, that's gonna be a doozy this year in the razis. Megalopolis, ooh! - That movie was a mess. Why do I feel like more movies nowadays, like I should be going high to the movies more. - Maybe we should try that with Joker too. - Oh God. - Who knows, maybe we'll enjoy it more. With this film, Joker was directed, co-produced, and co-written by Todd Phillips, who, as we said, is known for comedies such as The Hangover series, old school, road trip, you know, those kinds of comedies. So, like Scott said, not a lot of-- - Replay value. - Mongevity, yes. And I will say after watching this movie again, I think the theatre experience actually helped the movie, like when we saw it when it first came out, 'cause we rated it higher when we saw it in the theatre. This time we were watching it, we actually both bumped our rating down from what it was. - Yeah. - So, I do think despite Scott's hatred towards the little fucking assholes that were playing with their soda cans or whatever in the fuck of theatre, next to us, I do think that the theatre experience helped, particularly with certain scenes towards the end of the movie that really drenched up a lot of the tension. - Yeah. - You know, the darkened environment, you know, the crowd being there and it all being like dead silent in most certain moments, like it definitely increased the tension. - It did, but also maybe the fact that we didn't know what was coming and didn't fully know the message of what we were gonna get to. - Sure. Yeah, I remember being a bit of a rollercoaster at times, watching it in the theatre, because there are certain things. I was saying this when we really watched it as well. It almost feels as though its connection to the Batman universe is a side quest. Like, it's not really, it has nothing to do with like the message of the movie. It's just like, we're going along with the main character, Arthur Fleck's story for the majority of the time and then sometime in the middle of the movie, we're like, oh wait, no, we're in a Batman movie, so we have to connect it to Batman. So, let's have a whole subplot about Thomas Wayne and it just seemed very tacked on. - So the thing about this being a Batman movie or Batman universe movie, one of the things that makes Batman really interesting is somehow or another, he tends to create his own villains. And that was like a big thing with one of the 10 billion Joker backstories we have, is that, you know, it usually always somehow loops around back to, this is all Batman's fault. So, it's kind of interesting that, again, this Joker isn't really even connected to Batman at all, except maybe he's his brother, maybe he's not his brother, who the fuck knows? - I thought that too, when I watched it the first time, I thought from what I remembered, I was like, oh, I think they could still leave it vague if Arthur Fleck is related to the Waynes, but I think in this movie, they pretty much have it cut and dry that he's not. - Well, I think they try, they make it seem like it's not that, but in the same breath, when you have a guy who is as powerful as Thomas Wayne, and they like to hint at Thomas, maybe not as virtuous as he may appear. - Right, essentially, he is the Donald Trump surrogate of the film, which is, I think part of the reason why it was so lauded by the general public, this was smack dab in the middle of Trump presidency, and it was very much a time where the very broad term of "eat the rich" was thrown around very loosey-goosey and vehemently because Donald Trump. - Well, in the term of "eat the rich" has been around for. - Oh, sure, but I'm saying during the Trump presidency and all that Michigos, it definitely kind of regained some power. - Oh, yeah. - Also, just to put it out there, the cinematic representation of the Donald Trump fuckery has not ceased because basically in Megalopolis, Shia LaBeouf was Donald Trump, I think. - Trump surrogate, at least. - Like he was a, yeah, like that's what I'm saying. He wasn't literally Donald Trump. That's the movie "The Apprentice," which is coming out. I think that's some point this year, where Sebastian Stan actually plays Donald Trump. We'll never be rid of this man. But I don't know, man. Like Joker's not a bad movie, but it doesn't say anything new. Like the general messages, which aren't very deeply delved into, our mental health is misunderstood, government systems are trash, and rich people are assholes. Like that's basically, that's essentially the fucking thesis of the film. And it would be fine if those things were delved into a little bit more. I mean, Joaquin and I would say tries sometimes with his character building with Arthur Fleck, but it's not saying anything particularly new, but it acts like it is. - Well, yes, this is very surface level. And I think I said it at the time, because that was a criticism of this movie when we talked to other people about Joker, is everything is kind of surface level. Now, the point of having a movie like that, 'cause we have covered other movies that I think have had similar things to that, maybe not like eat the rich, but other like where we'll touch on the subject, and then kind of get off it real quick. - Right. Like if you look at movies like Fast Times of Ridgemont High, which also covers some deeper topics, but covers them very surface level. - Yeah, yeah, and I think that's fine. I think the difference is that Fast Times doesn't, I was just gonna say insist upon itself again, Fast Times doesn't, like it doesn't blow smoke up your ass and purport itself to be this like really deep or tour fucking, you know what I mean? I feel like Joker is trying to be that. Like that's why fucking Joaquin's in there. And you know, it's like this is the guy that made the hangover, okay? Like I'm not knocking him, Pilsen, people go between comedy and drama all the time. There's a very thin line, but I don't think that's what Todd Phillips was going for. Like he wasn't making a dark comedy. This isn't a dark comedy. - No, this is a straight up drama, but it's just so self-important. - It makes you feel like it's, what's the word, pretentious? - It does. - It's pretentious. There we go. We got there. I think that's fair. - No, pretentious. - I think that's also partially due to Joaquin. - Sure, yeah. Oh God, yeah, yeah. - 'Cause that's kind of the image of Joaquin as an actor for years now. - Yes, personally, I'm out of huge fan of Joaquin probably for that reason because he does seem very high on his own petard. I don't wanna knock his performance completely though, 'cause I do think there are some great moments in here from him. There are times though where he's just, it feels like he's just playing like a typical crazy guy, you know what I mean? But there are moments where he makes certain choices that are very interesting. And you can tell that he really tried to get into this character. He also lost a significant amount of weight for the role, which is a good sign for like Oscar-ness. I mean, there's definitely a implication that the character outside of his mental illness and neurological disorders has a little bit of anorexia to contend with. - Well, that's a whole thing though. Hollywood does that with actors. Like Christian Bale had the role years ago where he lost an insane amount of weight. I think he weighed like 92 pounds. - Yeah, for the machinists, which I've never seen, but I've seen like obviously pictures of it, yeah. But that's something that Oscar voters look very kindly on 'cause they, you know, the physical transformation. It's not anything to sneeze at, but his attitude is sometimes confusing and irritating, yeah, Joaquin. Even when he was accepting the Oscar for this role, he took the opportunity among other things. I mean, he did shout out his deceased brother, River Phoenix, who we talked about recently when we did Stand By Me, which was very nice. But he also like took the effort to scold people for drinking cow's milk. And I'm like, bro, have you ever bought a carton of milk in your life? Like, I don't think you should be just relaxed. - Well, also not the first time an actor has used the Oscar stage to promote cause. - Well, yeah, and that's fine. I don't have a problem with that. - No, I'm just saying. - But, you know, no, you're privileged, man. - Of course. - No, you slow your role there. You know, you want to get on stage and trash Trump for being a racist, that's fair. But like, don't tell us we're bad people 'cause we drink cow's milk. Like, I don't, that doesn't make any sense to me, but aside from all that, one thing that definitely stands out also in this movie is the other aspect that was Oscar winning in the film, the score. - Indeed. - The film was composed by Hilder Goodna Duttier. Excuse me if I pronounce that incorrectly. - We assume we did. - I tried, okay guys, give me a break. But she's great. She actually wrote the score before filming to sort of set the tone for the film. And also, she is the fourth woman ever to win the original score award. The Oscars, which I think is a great thing. But she also won, you know, Golden Globe, she won Grammy, so she's well on her way. - Yeah, she's great. - Where's your tone? Go workin' stage, get a tone. - Yeah, go get your egot girl, go get it. But as far as other awards, this movie got nominated for 11 Oscars. I just wanna put that out there in the universe. This movie got nominated for 11 Oscars. - Interesting. - 11. Just to put it in perspective, Lord of the Rings returned in the King and also received 11 Oscar nominations. - Yeah. - The Color Purple got 11 Oscar nominations. Now, it does make sense that it was in the conversation. It was obviously very popular. It was the first R-rated film ever to earn a billion dollars in the world wide. - Box office? - Yeah. - It's got a 3.9 out of 5 star rating a litter box. But I don't know if it's 11 Oscars worthy. - I don't know if it's 11 Oscars worthy, but I also don't know if it's a four, basically. That's something like, it's an 80 out of like a 100. I don't know if it's that good. Like, it's decent. It's not one of those movies that I think whole, again, I don't think it holds up. I'm sure Todd Phillips is going to have a decent career going forward. But that's kind of where I see his career is. Every movie is like, oh, cool. It was good the first time, every time after you watch it, it doesn't hold up. Like, it just becomes lesser and lesser every time you see the movie. - Okay, so of its other nominations, let's see. It was nominated for film and sound editing, lost both of those to Ford V Ferrari. - Yeah. - It was nominated for cinematography and sound mixing and lost both of those to 1917. One movie, hello. Makeup and hair, lost to bombshell. You know, fucking Charlize got the nose job. We love that. - Oh, Bobcat. - We wish you got her making Kelly nose job. - There's another movie we don't talk about anymore. - Yeah, it's okay. It's fine. We don't need to talk about it. Costumes lost to little women, period piece. Adapted screenplay lost to JoJo Rabbit rightfully so. If Joker had won against JoJo Rabbit for screenplay, I would have threw something at the TV. - Wait, JoJo was an adaptive screenplay? - JoJo was adapted from a book. - Ah, okay, no, no, no. - And then obviously, most importantly, I think, Joker was nominated for both best picture and best director, which that's insane to me, but he lost both of those to parasite. Iconically and beautifully so. So, it's fine. It also only got one razzie nomination, which I was surprised by for worst reckless disregard for human life and public property, which lost to ramble last blood. - Yeah. - Did you see that? - Yeah. - Oh no. I haven't seen the first blood, so I don't really, I can't say anything about that. - Yeah. - But, okay, before we get into the nitty gritty, I feel like we should at least touch upon also like another, I guess, controversy with the film that it has very strong connections and comparisons to both King of Comedy and Taxi Driver, both Martin Scorsese films, starring Robert De Niro, who Robert De Niro is also in this movie. King of Comedy Scott hasn't seen, it's on my list, and I haven't seen Taxi Driver, which is on Scott's list for me. I know. Okay, don't judge us too harshly. - We got a flip, it's fine. - I feel like I'm more judged for Taxi Driver than you King of Comedy. I feel like King of Comedy is more of a sleeper. - It is, but it's so fucking good. But, originally, apparently, Warner Brothers wanted Scorsese to direct the Joker film, which would have been even more hilarious considering fucking Scorsese, he was like, oh, did Marvel's not real cinema? That would have been hilarious. But, he wanted also Leo as the Joker. I wouldn't be mad about that, necessarily. - Yeah, but the thing about Marty, at least now, Marty doesn't seem to have the same edge he had. - Oh, no. - 20 years ago. - Well, Marty was also doing the Irishman this year. - Yeah, and Leo was doing once upon a time in Hollywood. - Yeah, it's one of those things. I don't think Marty would have been right for this. The whole Robert De Niro stuff reminded me of Late Night with the Devil a bit. - Oh, yeah, which is a movie that came out this year, which was really, really fun. I mean, De Niro played a great late night host. He could have got away with a supporting after nomination. - Maybe, but yeah, I don't know who you could have done this and made it better directing-wise. And I don't know who would have been the right person for this. - I think if you treated this more like a straight up like Scorsese crime film, it would have been better received, actually. - Probably. - Because it wouldn't have been as like lofty, you know, typical oscary bullshit, you know what I mean? Like, say we want about Marty, you're right in saying he doesn't have the same edge anymore, but considering that Joker is, there's so many comparisons to make. I mean, King of Comedy is about basically a crazy guy who kidnaps the Late Night show host to try to take over his show. Basically, I'm giving the bare bones, so I don't spoil it for Scottie. And Taxi Driver, I know, is about De Niro being a crazy perv guy who drives a cab. - Yeah, there's love, yeah, something- - Yeah, I don't, that's, I'm speaking very bare bones. So there's definitely a lot of comparisons to make. - Actually, you know who I think could have done this really well in a different way. Jordan Peele. - Oh, that would have been fun, yeah. - That would have been interesting, but, okay. Either way, if we didn't get there, we got Todd Phillips and Joaquin. - Yeah, I don't know how I feel fully about Joaquin's performance. Like I said, I feel like there's some really good moments and then some moments where he's just kind of hamming it up for the sake of being hammy. - Well, I- - And it's hard not to compare him to other Joker performances as well. - Well, of course. I kept laughing 'cause he kept head-buddling things. Like, he head-butts a metal grate at one point, he head-butts a glass window. - Yeah. - I'm like, eventually, I don't care how hard your head is. That hurts. - I mean, take the cartoon performances out of it, right? Like the voice performances, like Mark Hamill, because it's just a different animal. But if you look at like the live-action performances- - It's leisure. - Yeah, I mean, I feel like this could be most easily compared to Ledger's performance because it's so intense. Jared Leto and stuff like that, like it's just, it's a joke, basically. Leto is essentially just a joke. As far as his performance is the Joker. - Well, again, so you have your big four. Well, now it's, there's four. - There's four. - There's four Joker's. There's Jack. - All right, Jack Nicholson. Well, that was also just kind of bad shit. - Well, that was bad shit, but he was also, he had the crime boss thing. It was, again, he was more of a mafia also than like Ledger's who was like, just kind of crazed. Though he was a lunatic too. And then you have Ledo who is just kind of crazy in life. - Oh, yeah, so. - It's interesting 'cause the three of them are very different characters. - Sure, but supposedly Arthur Fluck isn't the real Joker anyway, which I feel, I remember feeling that was a cop out. I was like, what do you mean, he's at the real Joker? - They're afraid to cast the Joker again. - Yeah, I feel like that's fair though. - Oh, it's completely fair, but because we've done it so many times, because the Joker is the Batman foil, it's so hard for WB to be like, let's not have a Joker in a movie for 10 years. - Yeah, I mean, it's hard 'cause, I mean, this is a problem, I think, with all like the, really the DC properties, mostly because we keep redoing them. We keep stopping and starting. So it's just really, it's getting old now, like I feel like everybody's just kind of sick of it. I feel like Joaquin got away with it almost because this movie sort of, in its marketing and in its just kind of elevated itself above the rest is like not being a real quote unquote superhero movie. So it almost sets itself apart. It's not a Batman movie. - Right, so it kind of gets away with not being the real Joker and Joaquin having his own interpretation or whatever, but then, yeah, at the end of the day, when it comes to live action, Joker's always comes back to Heath Ledger. - Yeah, and it's either Heath or Jack. Those are the two it always comes back to. Heath has the advantage 'cause I think he played the character to such an extent that people think of him, but Jack is usually always there too because he's the first, well, other than Caesar Romero. - Right, but it's in the modern age of Batman movies and whatnot, yeah. And also, I mean, there's more of a division, I feel like between Jack Nicholson and Heath Ledger because the genre, it's so different. Like, say what you want about Keaton Batman, obviously he had serious moments, but it was very Tim Burton-y and it was its own, it just set itself apart so differently and then Christopher Nolan is such a, maybe that's what it is, maybe the secret sauce is just the director because Christopher Nolan is such a unique filmmaker. Like, he's one of those filmmakers that you look at the movie and you know immediately it's a Nolan movie. Same thing with Burton. When you look at Todd Phillips, he doesn't have enough of a style and a formula established yet to set himself apart. So he had to just sort of like zhuzh it up as much as possible by, you know, over inflating the movie. So it set itself apart in that way. But like, you look at fucking Leto Joker and it's like... - It's a mess. - It's, yeah. - There's a reason we, no one wants that back. No one was calling for Leto Joker to come back and honestly, we all thought that Leto Joker kinda held back Harley Quinn. If you're gonna do a Joker movie that actually takes place with Batman. - Right. - I almost want Batman to be a side character. - Well, that's basically what this was. - Well, I mean, he's not Batman. Bruce isn't Batman yet in this. - Not like this, but more like, especially with the Harley thing, with Harley coming back in this Joker movie. I wanted something more on the lines of Joker corrupting the brilliant psychiatrist that was Harley Quizelle. - Sure. Yeah, I feel like that would be fun. - Like, and then you just have Batman's story of Joker told by the Joker. - It's almost kinda like what they did in Suicide Squad. Like, the backstory of Joker and Harley and then Batman coming in just like knocking them out. And then they're in Arkham together. - Yeah, and that's-- - And like, that's the movie. - And you just have this standoff between Joker and her, basically. - Yeah, I feel like that would be interesting. - But yeah, you have this whole universe to play with and by universe, I mean like DC universe, right? So you have this whole universe that you can play with and you can do different shit with it. You can all tour it, you know? You can have a time, bro. But A, don't do it with Todd Phillips. But B, do it with somebody that is really gonna do something like fucking outside the box with it. Like, that's the problem, I think ultimately with this movie more than anything. And again, there are three things that we both like about it. But the problem with this movie is that it wants to be different and stand out. And it does in certain ways, but it's not enough. Like, it's trying to tell the audience, hey, we're doing something different, aren't we crazy? But in reality, it's just not. Anyway, shall we get into the nitty gritty of this movie? - Yeah, let's do it. Let's get into this. Let's rip it into asshole, perhaps. Okay, so we are immediately introduced to our main character, Arthur Fleck, played by Joaquin Phoenix. - Yeah. - But yeah, we talked a little bit about Arthur already, but he has this neurological disorder that makes him laugh at inopportune times. I think he says it's like random times, like he can't control it. It seems to happen whenever he-- - It's stressed. - Gets, yeah, stressed or anxious. He just erupts in laughter. Which is very creepy. - It is, and his laugh is also very unsettling. - Yeah, he's very off-put. I mean, Joaquin does a good job at just being generally off-putting as a character. - Well, that's just because he's generally off-putting as a person. (laughing) - He works as a clown. We see him putting on his makeup. Like, the first scene is that sort of memorable scene in the trailer of this movie. I remember I think it was where he's putting on the makeup and there's just like a single tear tripping down his face and he's like doing the fake smile and stuff. - So he's been hired by a store to be the clown spinning the sign outside of a store going out of business. Now, what store? That's going out of business. How are you wasting money on the clown? - Clearly they're not great business people. - Clearly they are 'cause they're going out of business. - Clearly not, they're fairly stupid. So these ruffians, these kids fucking come, knock Arthur over, steal his sign and then tap his ass up in the alley. - It had him run after them. Like, it really doesn't make a whole lot of sense. - It's just there to establish that this is a recession-era Gotham city and-- - Gotham's bad. - It's in the shitter. There's a garbage strike. - There are super rats. There's a lot going on. - Well, it's very funny 'cause it did remind me of when New York City was going through the same thing with the garbage strike. - Oh yeah, I definitely think they pulled it from that. Like-- - Because I remember working in New York City at the time frame at garbage just being mountains. - Favorite symbolism. - Symbolism. - Symbolism. - But yeah, Gotham's always kind of been portrayed as a cesspool of bad people. - Sure. - And he goes back to the locker room of clowns where we meet two other clowns, one who's very big and tall. - In the dickhead. - In the dickhead who gives our fur a gun. - Randall, yeah, he finds out that he got beat up and he's like, "Here, take this gun." And Arthur's like, "I'm not supposed to have a gun, man." He's like, "It's okay, nobody has to know." And then there's another coworker there that's also a clown. He's a little person named Gary and he's cocky and he's a very nice guy. But Randall always makes fun of him because he's a little person. But there's definitely an established little comradery between Arthur and Gary, which will become relevant later. But yeah, Arthur sees his social worker regularly. She's played by Sharon Washington. She plays a typical, overworked, underpaid social worker. - Yeah. - Who, you know, is just going through the motions. What I appreciated about this movie is that at one point, you know, budget cuts in the city such as shuts down the social services program because, you know, the big government doesn't care about social services. Don't you see audience? Government bad. But they have like their final meeting and Arthur's upset 'cause he's like, "Well, what do I do now? "Like, you don't even care about me, blah, blah, blah." And Sharon's just like, "Man, I don't know. "I'm over this shit too. "Like, I'm not swimming in money here. "Like, the government doesn't give a shit about you "and they don't give a shit about me there. "Like, I don't know what to do." - Well, this always makes me think of like, public defenders too. - Sure. - Because these people are like overworked to a point where they're exhausted and they have like 10 billion cases and they really can't handle it all. But during all of this, we do see Arthur's living situation. It's not great. - He's living in an apartment with his mother. - Who, you know, we later find out concretely is dealing with her own mental health issues, but it seems pretty clear that from the beginning that she does have some mental health issues that are somewhat undefined in the beginning of the movie. But one thing Arthur and his mother always do together is they regularly watch late night television host, Murray Franklin, who is played by Robert De Niro. We've done many Robert De Niro movies on the show. Goodfellas, Bronx Tale, Casino, Silver Linings Playbook. But yeah, De Niro's doing a bang up job here as a late night host. He's a regular old Johnny Carson. - De Niro doesn't give bad performances a whole hell of a lot. - He really doesn't. I mean, there are sometimes certainly where like you can tell he's like phoning it in maybe, but even in like shitty movies, he generally gives a good performance. - Yeah, you look at things like Meet the Fockers and shit like that. - Sure, sure. I like to meet the Fockers. - It's fun, it's goofy, but it's not like no one holds Meet the Fockers on the level of The Godfather. - Fucking Robert De Niro and Dustin Hoffman going tettet. - Oh, by the way, guess who else is in Megalopolis? Dustin Hoffman? - The people that popped up in that movie, it's crazy. - I thought you were about to tell me Robert De Niro wasn't that movie like where? - No, no, wouldn't that be hilarious? No, but it's clear Francis for Coppola called some people 'cause also Talia Shire was in that movie and I didn't realize it 'til she started like really talking. And I was like, who is that lady? Adrienne Bow! (laughs) What are you doing here? - Talia, Talia, Talia. - I mean, she don't work much anymore. Francis called her and was like, listen, I need your help. - Listen, you won't be-- - Oh, it wants to be in this goddamn thing with me. It's fucking batshit. - You won't be in this movie for about 10 minutes. - Literally 10 minutes. - Oh God, but yeah. - But anyway, so back to Joker. Arthur has a little bit of a fantasy about actually going to the Murray Franklin show and meeting Murray and he looks at Murray as sort of like a father figure because his father is not around. - Indeed, it's weird. Because Todd Phillips has this kind of whole thing of like dream like hallucinations for Arthur. - Well, that's a big part of the movie. - Well, it's a huge part of the movie, but it's also, there's no clear transition through them. - Well, there's a reason for that. - Well, yeah, there's a reason for that, but like, it's a weird transition like kind of trying to wrap your head around the movie at certain parts because you're like, oh, this all wasn't real or some of this was real and some of it's not real. Like you don't fully know sometimes. - Well, sometimes you know. - Sometimes you know. - Speaking of which, let's meet Joker's love interest for the movie, Sophie, a single mom who works too hard, loves her kids and never stops. - Working nine to five, what? - No, Reepa, Reepa Scott, how dare you. (laughs) - So Sophie is played by Zazzy Beats. This is right between Deadpool two and the harder they fall. She's also in the great show Atlanta. She's apparently going to be in Joker too. I assume as, 'cause I know that there's a trial of sorts in the movie at some point, so I assume she's going to be testifying against Arthur Fleck at some point, I don't know. But Zazzy Beats is lovely in this movie, but she plays the quote unquote, big quote unquote, love interest. - Yeah, it's interesting 'cause we see her in this first scene with him in the elevator. And then she does the fake shoot herself in the head. She does it and it's kind of cute and funny. And then she walks off and then Arthur does it in the hallway and it's like more dramatic and she just kind of like laughs it off a little bit and then walks away. - But it's clearly more uncomfortable. - Yeah, which is just Arthur in a nutshell. But despite the fact that I like Zazzy Beats, this is the part of the movie that I thought was the most stupid because it really thought that it was doing something here. The movie really thought that we were going to believe that Zazzy Beats was gonna be hooking up with fucking pale ass, skinny ass, crazy ass fucking, Arthur Fleck, Joaquin. And they do it in like such an obvious way and they make it so clear that this relationship is in Arthur's head. - Well yeah, because the way the relationship starts. - Is she shows up to his apartment? - After he follows her all day in the city. - Yeah, after he stalks her. - Creeper. - She shows up at his apartment going, "Oh, did you stalk me all day?" - Are you following me today? - Isn't that cute? Like just so absurd that like this was clearly written by a man, like in what universe? I don't care how cool Zazzy is, okay? In what universe is any woman who knows that a man has been following her round all day that she doesn't know is going to just knowingly and willingly go to his apartment and be like, "Are you stalking me and following me around all day?" Like flirting about it. Like fuck off. And then yeah, like they play it so obviously that throughout their bullshit relationship, no one else talks to her. No one else acknowledges her. When they're interacting, they're always just the two of them together. Like it is very obvious that she's not there. And then when they have the big reveal towards the end of the movie, oh, the relationship was all in his head. It's like supposed to be this big shock. And it's like, first of all, this is not the first time something like this has been done in a movie. - Nope. - Second of all, no shit. This is like literally, if anyone has seen a movie before, then they could probably figure it out in two seconds. - Well, again, play it like it's this big revelatory huge, oh my God, thing, and it's ridiculous. - Well, yeah, you had to be more subtle about this if you're gonna try and get this over on us. - Todd Phillips thinks he is like fucking, you know, who made fucking that movie where Edward Norton, he was pretending to have like two personalities, but he really didn't. - Oh, Primal Fear? - Yeah, he thinks he's whoever made that movie or he thinks he's fucking like M Night Shyamalan, fucking Sixth Sense era M Night Shyamalan. Like I don't understand you. You're more like fucking lady in the water M Night Shyamalan. Okay, you're fucking trapped M Night Shyamalan. - Oh my God. - Get out of here. But Arthur does eventually get fired from his job as a clown for accidentally dropping his gun in the middle of a children's hospital. So fun. This is where we kick sort of the inciting incident of the movie and like what really gets things kicking off. I will say that when we watch this in the theater, I remember being genuine like shocked by what happens. So he's riding home on the subway and these three younger guys and suits who we find out later work for Wayne Enterprises are harassing this lady on the subway. Arthur starts laughing uncontrollably 'cause he just, you know, he feels bad and he wants to help this girl and he just starts getting anxious and he starts laughing. - And he's still in clown makeup. - Right, yes, he's dressed like the clown still and the girls runs away and the workers, the suited guys, they end up turning on Arthur and messing with him and they start actually fucking beating him up and it's like, what the fuck is your problem? They literally start kicking him on the floor and then Arthur turns around with his gun, shoots two of the guys dead right there on the subway, shoots one of the other ones in the foot and he runs off but the third guy eventually escapes the subway and Arthur chases him down and shoots him dead multiple times. Immediately after he shoots these guys, he runs off into a public bathroom and I think like I think the scene was originally meant to be like, you know, just a moment of him like freaking out that he killed these three people but this was the scene really where like the score sort of had a pinnacle moment. Apparently they played the score that Hilder created in this bathroom scene for Joaquin, for the scene and he decided that it felt right for him to start dancing and he did this almost sort of ballet-esque dance sequence and it is, it's certainly disturbing but I think it's supposed to show that there's a certain like liberation for him after having done this. - Well, he does say a line later that he did something bad but he doesn't feel bad about it. Like I think after the shock of everything, he knows that these three guys were shitheads. It's a very gray area here. - Right, and they established that these guys are assholes in the beginning of the scene so that when Arthur does shoot them, you as the audience don't really feel that bad 'cause they're fucking assholes. - But then Thomas Wayne gets on the TV who's running for mayor by the way and calls the people who are poor clowns. - Which just stupid. Like what? - Okay, you're running for mayor, man. Like these are your constituents. You're just calling them all fucking crazy. Like, okay. - You can't call people clowns. - Cool, man. - This was great. - No wonder it backfired on you immensely. - Yeah, 'cause after this, like, you know, there is sort of an uprising amongst the middle lower class people of Gotham that are sympathizing with this clown killer. So there are, you know, protests starting of like these eat the rich sort of protests because everybody in Gotham in the lower class is living in poverty, you know? They're living in shit while people like Thomas Wayne call them all clowns and it's like, what the fuck? So it really is the inciting incident of a whole revolution, which obviously Arthur wasn't expecting, but it, you know, it happens. And like I was saying, there is a certain liberation in Arthur specifically when he kills these guys is like whatever the next day after he, you know, had his little ballet dance in the bathroom and also went to Sophie's apartment allegedly and made out with her, which was clearly all in his head. But it's fine. He's, he's feeling himself right now. He's hot, he's hot right now. And he, he's, he is hot right now. - He's hot to trot, baby. - You know, you don't get that reference 'cause you haven't seen Zoolander, but it's fine. But he goes to the clown place to get his stuff and he is very sassy with Randall 'cause like, you know, Gary apologizes to Arthur for like, oh man, I'm sorry, you got fired, like this sucks. And Randall's like, yeah, you know, he hate to see that happen. And Arthur's like, oh, maybe I should tow our boss that the gun that I dropped in the children's hospital was your fucking gun. Oh, that would be kind of crazy, wouldn't it? And then he punches the time clock as he walks out. Oh, I forgot to punch out. - Yeah, yeah, so funny. - After all this, finally, 'cause Arthur's been talking about for a while, he's gonna do stand up. And to say it doesn't go well. - Isn't that interesting? - But Sophie, Sophie is there supporting him. And by supporting him, I mean, she's not there at all, but we're supposed to believe that she's really there smiling at him. Okay, sure, sure, sweetie. She even at one point, they're walking after the stand-up bit them together, and they look at the newspaper thing of a clown mask and how the city is like. - Oh, he's a vigilante, like Batman, you know? Although Batman's not really it. And oh, she's like, oh, I don't know what they're also upset about. The shooter's my hero, and it's like, oh my God, kill me, please, like, just stop it. - Well, yeah, 'cause every time he's out with her, know who's nowhere near her? - Her child, her single mother child, you know? Like, I don't, I don't get it. I don't get it, I don't understand. - So, Arthur's mom tells him that Thomas Wayne is his father. - This is where the movie remembers that it's a Batman movie. So, Arthur goes to Wayne Manor and acts completely creep-tastic. - To a young Bruce. - And grabs his face and like puts his fingers in his mouth. It's very inappropriate and creepy. - Yeah. - Just to be creepy. - He also chokes Alfred because Alfred gets too close to the fence with a crazy person. - Well, because when Arthur is like, you know, Thomas Wayne's my father, Alfred is like, no, he's not your mom's delusional, I'm sorry to report. So, he's gonna look into it more, but then in the middle of all that, his mother actually has a stroke. So, she goes to the hospital and there's all that going on. Also, the police are investigating him for the subway murders. And then on top of all that, he's in his mother's hospital room and Murray Franklin is on the television and they're watching and he notices that Murray Franklin has somehow got a hold of a videotape of his stand-up routine at the club and how shitty it went and he proceeds to make fun of Arthur on the television show, which sort of devastates him for obvious reasons. So, Arthur's having a rough time right now. - Yeah, yeah. You're trying to illustrate 'cause he even says at one point, he brings up the most famous Joker line of like, oh, one bad day. Like, he says it at some point, it's somewhere in here. - Yeah, I had a bad day. - Like, one bad day can cause you to do this. Basically, I'm paraphrasing. - Well, even you said at some point in this movie, like, if Randall had never given Arthur the gut and none of this would have happened because he wouldn't have shot those guys and like, all this would have probably been avoided. - Well, he would've never been fired. - Right. - So he would never would have been on that train in the first place. It literally all stems from Randall Handing and McGone. - But getting back to like the Thomas Wayne stuff, I remember when we watched it in the theater, it was very, like, it was confusing to us 'cause, I mean, we're both relatively big nerds. I mean, Scotty, more than me, probably when it comes to Batman, but like, we were like, is this what they're doing? They're gonna make Joker and Batman Brothers, like, huh, like, what? And I think that clearly was done purposefully to like, just fuck with the audience and like-- - Well, it's partially that. It's also partially 'cause we do, he does eventually go to the mental institution. - Arkham. But yeah, and then it ends up being a nothing burger. - Yeah, it ends up being a nothing burger that he was adopted in that his mother, his adoptive mother, tortured him and allowed her boyfriends at the time to beat him until he was basically mentally ill. - Right, so all this comes out, Arthur's devastated. - I think the movie wants you to lean to the way of like, oh, all this is being told to Arthur as he reads it as truth. - Sure. - But there is-- - Which means that the connection to the Wayne's is completely pointless and was thrown in there to make it a Batman movie and make the Batman fans. We're like, oh, you know what I mean? Like, you satisfy the Batman fans and make it an actual Batman movie, which it's really not, if you take it out of Gotham and just like, put New York City on it, which is basically what it is, and just remove any reference, like instead of calling him Thomas Wayne, you can call him, you know, John Samson. And it's the same fucking story. - Yeah, you're not wrong. So after finding this out, - Shit gets really real. - Arthur commits his fourth murder and smothers his mother to death. - Yeah, and then he goes on back to his apartment to get ready to go on the Murray Franklin Show. 'Cause the Murray Franklin Show called him up during this time and was like, hey, I don't know if you know this, but your stand-up routine was on our national fucking television show. I don't know if you know about this, but yeah, you want to come on down here and go on the Murray Franklin Show? And he's like, sure. So we get his transformation, Arthur's into the Joker, you know, with the white makeup and the green hair. - We have one more murder coming up though. - Oh yes, while he's there getting ready, we get Randall and Gary coming over. And Gary seems genuinely sad for Arthur that his mother passed away. So that's why he's there. And he brings some alcohol and it's like, hey man, we're here to help Reeve with ya. And he's like, no, I'm celebrating. My mother's dead, hooray. I'm coming up a Murray Franklin Show tonight. And Randall is under the guise that he cares, that Arthur's mother has died, but really the police are poking around the clown shop and they're asking about these murders. And he wants to know what Arthur told the cops about the gun because obviously it was Randall's gun. So he's being just so shifty and shady. And then in response to Randall's shifty shadiness, Arthur takes a pair of scissors and stabs him in the neck. - And then proceeds to bash his head into the wall. - I didn't give a shit about Randall. And despite all of the murder, there is definitely an air of, we should feel sorry for Arthur 'cause his life is so horrible. - Yeah. - But really I just feel bad for Gary. - Yeah, Gary's gonna need some therapy. - Or Gary. - Gary needs to move to Metropolis. - Oh my God, that's what we're saying. (laughs) - Gary, I hear the Daily Planet's hiring. - Oh my God, yeah, get out of this shit hole, man. - You deserve better than this, Gary. - After he kills Randall and he's like, oh, Gary, you were always nice to me, you can leave. - Yeah, he even feels even worse for Gary because Gary can't reach the clock door. - I can't open the lock on the door. Oh my God, poor Gary. He's like, Arthur, can you open the door, man? (laughs) Like, if he gets him a kiss on his bald little head, I'm like, oh my God, let Gary go, let him live. - Gary, please just move. - Please, get out, Gary. I will, if all Venmo used some money, get out, man. But yeah, like throughout the movie, we've seen his eventual decline into Joker. But there were points in the movie that were head scratchers, for sure, that like, is this real, like, Joaquin Phoenix, like delving into a character who's losing his sanity? Or is it just, this is what a wacky guy would do. Like, there's one point where he takes all the shelves out and his refrigerator and just climbs in the fridge. - Yep. - And Scott made an Indiana Jones joke, which I appreciated, 'cause how can you not nuke the fridge? - Exactly. - Hashtag nuke the fridge. But, I just, I don't know, man. At this, this is around the point where Scott turned to me and was like, so what are you giving this on Letterbox? And I'm like, I don't know. And he looked and we, what do we both have? - We both had another three and a half. - Yeah. And I was like, all right, I don't know where I'm going. I think I'm gonna wait until the Murray Franklin show scene because the Murray Franklin scene when Joker is on the show is, I would say, the best scene in the movie. - Yeah. - It was in the theater too when you watched it. - The De Niro really brings it here. He's a reason that this last bit is as memorable as it is. - Well, I think Joker's speech is also really well-performed. Like what he says in it isn't anything remarkable. But I think like the score in it upticks everything and like his anger upticks every, like I think it's performed really well for everybody. - It's one of those things like, you have this guy come on your show who's dressed as a clown. - While, yeah, go ahead. - While riots are going on. - With everyone dressed as clowns. - Everyone dressed as clowns. - Oh, we got, we, we didn't even talk about the stairs. - Oh yeah, scopes, yes, all right. - So yeah, going to the studio, we get the infamous stair dance scene with the song "Rock and Roll Over It" where he's just like going full out. Like he's fully liberated as the Joker. He has embraced his insanity and it's just going full out. That scene is, I would say probably the most memorable of the movie, the most memed and whatnot. - Yeah. - And it is fun. But there's a point, this is also like indicative of like what we've been saying, the main overarching problem on the movie is at one point, the very popular rock and roll song stops. And then a big orchestral. - Score. - It kicks in and Scott was confused. Yeah, it didn't, as was I, it felt weird. (upbeat music) (upbeat music) - It felt like a very harsh trans, which I didn't remember. I was like, oh, that felt weird. It really felt like we were in like a real like blockbuster like fun movie for a second and then we decided, oh wait, no, no, wait, we're an Oscar movie. Stop it, we have to do Oscar things. That's what it felt like. - Yeah, but once he gets to this set and like we get to this interview because he does a cool, like he seems like he's really into it. He has to dance on and shit. It is interesting because as he's admitting to killing three people, you think the producers of the show would stop the show. - Well, you got Mark Mariner over there on the side being like, cut it. - And for some reason, Murray Franklin decides instead of deescalating it, he just like antagonizes them more. And it's like, you're a fucking coward. You kill those men and it's like, what do you think you're gonna accomplish by doing that? Like now granted, I don't think Murray Franklin deserved to die. - No, but there's clearly a disconnect and that's basically what the scene calls out. And like I said, like Joker goes into a whole monologue which is well-performed by Joaquin, but it's not saying anything new. It's not like, like I couldn't tell you a line from the fucking monologue, except for the one right before he shoots Murray Franklin. - How about another joke, Murray? - No, I think we've had an upbeat joke. - What do you get? - I don't think so. - When you cross a mentally ill donor with a society that is bad as him and thinks I'm like, drown the police. - I'll tell you what you're gonna believe. I'll tell you what you're fucking deserved. (gun fires) - Because that's like the most obvious, like, holy shit part of the scene where he just hauls off and shoots Murray and then chaos ensues. - And then that's life. - Oh God. - So he gets arrested and then the mob fucking breaks him out. - Right, because he's a symbol for them. They're revolution. But he does end up in Arkham, apparently. And maybe kills a social worker psychologist. But also we gotta mention they did the thing where they sort of established that Arthur isn't the actual Joker that we know to be the Joker, because we, for like probably the 17th fucking time in cinema and television, see Thomas and Martha Wayne being murdered by a guy at a clown mask that isn't Arthur. So it's setting up the fact that Arthur isn't the real Joker. He's just the guy that inspired the real Joker. - Well, Thomas and Martha Wayne weren't always killed by Joker. - Okay, but we've seen Thomas and Martha's murder about a hundred times. - Oh, we've seen it a ton of times, but that was... - I know sometimes it's just by some guy. - Name Joe Cool, or Joe Chill. - I was gonna say Joe Cool is the cigarette guy. - Yeah, Joe Cool is the cigarette guy. (laughs) - But yeah, it's just like, honestly, I never need to see Thomas and Martha Wayne be shot again, and the pearls fly off Martha's neck. - Oh my God, yeah, it's so annoying, like Jesus Christ. But during that scene, the Murray Franklin show scene, I do still think it's the best scene in the movie. I did still feel tension when I watched it, not as much as watching it in the theater, because again, I do feel that the theater experience definitely adds to it, and they're not knowing exactly what's gonna happen. Adds to the tension a lot, but I still do think it was performed well. It didn't have nearly the same impact as it did the first time around. - I almost wish, no offense to Sassy Beats. I kind of wish her part was taken out of this movie, and we had more delusions of him and Murray. - Yeah, well then it would've been really hard to poo-poo the King of Comedy fucking comparisons, and people being like, "This is just basically the King of Comedy." But I get what you're saying, 'cause the Sassy Beats thing is stupid, and it's pointless. - But we establish this whole thing with him viewing Murray as a father figure. We could've gone into that more, and then at the end, when he shows the part and starts mocking Arthur, we get more of a betrayal, because when we view Murray as a father figure, that's the first 20 minutes of the movie. Then an hour and 20 minutes goes by before-- - Well, it's really just one scene. - Yeah, it's like one second of the movie. - Yeah, because when they're first watching Murray Franklin, Arthur and his mom, and Arthur's fantasizing about Murray talking to him and pulling him out of the crowd and being like, "Oh, I wish I had a kid like you." That's supposed to establish that Arthur sees Murray as a father figure just that, and it's again, as we've been saying, like very surface level. We kind of still did like a little bit of the Thomas Wayne thing, and like had that been a red herring, which I think is kind of what they were trying to do, but it just, it comes off disingenuous when there's no real connection to the Batman universe other than that whole Thomas Wayne thing of him maybe being Arthur flex father, but then it turns out it's a nothing burger. You should've got Marty to do this. You should've just waited for Marty. You should've waited for Marty to be done with Irishman and be like, "Let's put this in Marty's hands," 'cause if Marty remakes "King of Comedy" with the Joker, that's fine 'cause it's Marty's fucking movie. He can do that, he's a legend, and he's like 107, and he can do whatever he wants to do. - Well, let's slow down with legends doing movies anymore, let's just-- - All right, yeah, you're right, Francis. Francis is too old, Francis has to stop. Marty's, that Marty's, I like-- - Marty's on the fringe. Marty's getting there, but killers was fine. I like killers fine. I have my issues with killers, but it's-- - Irishman and killers felt like-- - He's still competent. - Oh, he's competent, but Irishman and killers felt like recycled bits of his old movie. - I agree with you, and if they waited for him to make Joker, it also would've felt recycled from other movies he's done, but at least it's his movie. If you're a person making a movie that feels recycled from somebody else who's much better than you at making movies, it doesn't come off great. And with Francis, now Mr. Coppola, you have to stop. I'm so sorry, I don't even feel bad because apparently you were groping extras on the set, so I don't even feel bad saying this to you. You're too old, you need to go home and go to bed, and if you see megalopolis, you'll know what I'm talking about, I actually would recommend going to see it. - Weirdly enough, I'm glad I went to see it. Scotty's not so much, I am. - Maybe take a pop brownie with you. - It was fun, it was a fun rollercoaster shit show of a time. I wouldn't say it's so bad, it's good. - No. - But it's definitely fascinating to watch that movie, but anyway, I digress. - Frankie, what would you give Joker now on the second watch? - I give it a three out of five stars. I think we gave it the extra half star, the first go around based on it being, you know, first time excitement of it, the theater experience, the Oscar buzz was buzzing, but re-watching it now with fresher, more objective eyes, it's just fine. And I assume that the second one will also be just fine. - At least we hope, I also have it as a three, but it's teetering on that for me, man. - I don't think it's teetering. I think there's enough good things in it that it earns it's three out of five. I think, I don't think it's 11 Oscar nominations good, but I think the score is really fantastic. I wouldn't, for one second, think of taking Hilders, Oscar away from her. I think Joaquin's performance was good. There's, you know, hammy things in it. You know, like the obvious crazy guy things to do, like when he's painting his face, he takes the white paint and just slathers it on his tongue. 'Cause he's crazy and he shoves himself in the fridge. And he, you know, but there are also other good things in his performance too. - I think it's fine. - And let's be real, he got his Oscar because he was overdue. It wasn't just because of the performance. The performance was good, but if this was his first Oscar nomination, he probably wouldn't have won. - No. - Let's be real. But like the reason I say that I think it's closer to a Friden, there's a 2.5. - Sure. - But I don't just wanna say it's solidly a Frui. There's still a good deal that's just like kind of just blah about it. And if I felt that way watching this now, five years later, I don't know if that's a solid Frui, it's gonna hold that. I don't know if I'll ever, I think it's gonna keep going down every, if I ever watch this again. - I think a three is a fair score. I think the question is really gonna be, is Joker two gonna be on par with that? Or is that gonna be like the 2.5? I will make a prediction now that I'm gonna end up giving Joker two a three. 'Cause I think it'll be nice. I think the dance sequences will be fun with him and Harley. But I think they're gonna be parts like this that are overblown and like Oscar Beatty almost and I think the Joaquin performance is gonna be very similar to this one where there are good things and bad things. So yeah, I predict that Joker two is gonna be very much similar to how I feel right now about the original Joker. - I don't know, we'll see. I'll have a lot of faith walking in and hopefully I'm wrong. Hopefully it's at least decent enough. But yeah, I mean, if you want Batman/Joker content, there's a very big pot to pull from. So you don't have to necessarily dig this one. But yeah, I think this is a solid start off to spoopy month. We got Joker two coming out soon so we're gonna figure out how we feel about that. Stay tuned on our social media for our review of that. - Indeed. - Next week, Scotty is going to be showing me another spooky movie and it's got a little superhero twist as well. - It does. - I'm excited about that. But until then, this has been Shoot the Flick. I'm Frankie Sparks. - And I'm Scott Eisenberg. - Make sure you check us out on Instagram and Twitter at Shoot the Flick and check out all of our episodes, spoopy and otherwise on iTunes, Spotify and I heart radio in pretty much anywhere else. You can find a podcast and make sure you come back next week for our fiery, not really a superhero, right? - The anti-hero? - Yeah anti-hero. - Anti-hero. - We movie adventure. - Eat the rich. - Yes, please, please eat the rich and shit out some of their money and give it to me. - I'll take it too. - Yay, that's life. ♪ That's what people say ♪ ♪ You're riding high in April ♪ (upbeat music)