Giggitee O'Yeah

Starts off well. Exposition is far too long to the point of tedium. Real boredom sets in. Much that could be intimated or explained rapidly is dwelt upon in minutia ad excrutia. Plot holes evident- why is Fleck (Joker) suffers hysterical laughing is never diagnosed or explored. Why the perpetual outsider perspective is suffered is never explained or explored. Throw away second-thought exploration of Arthur's abusive childhood tacked on, yet the abuse remains tame in comparison to actual reality headline horrific abuse, this leads to a break from suspension of disbelief. Previous rapid personality switching now non-evident. Very tame triple self defence homicide leads to inexplicable similarly tame insipid riot. Mental illness is distilled ad absurdem to tired tropes: inappropriate gigglers, slow awkward dancers, chainsmokers, skinny people and those with messy hair, dwell with their mothers are socially awkward and asexual.and semi delusional. Major screenwriting clash within storyline- Patriarch Wayne is unfeeling, cold and tactless towards mentally ill former employee Penjy Fleck and her devoted adopted son Arthur Fleck convinced Wayne Snr is his father (punching him in nose) most odd behaviour for a warm-hearted empathic medical professional. Violence rather tame. No relationship between documented dissociated or psychotic murderers and their victims. De Niro plays an excellent cheesy ham comedian, a clean Rodney Dangerfield Johnny Carson Ed Sullivan love child. In sum, watch with the hype fully in mind, enjoy Do watch, enjoy Joaquin Phoenix superb acting singlehandedly turn a lipstick besmirched pig of a script into a passable plain and dull prom date. De Niro is interesting in an unusual role. Scriptwriting, directing, editing superficially art avante garde by association (grainy film instagram like photo filters) utterly awful not unexpected of director of Hang Over.