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Still in the 1970’s and imprisoned at Arkham Asylum, Arthur Fleck (Joaquin Phoenix) awaits his trial for his crimes as Joker. But, when a chance encounter with Lee Quinzel (Lady Gaga), a fellow patient and fan, stirs up new emotions, Arthur finds himself conflicted in his duality of self, Joker and Arthur. Sometimes all it takes is just a little push to send things into motion, and all the world’s a stage. Will Arthur get what he wants, what he deserves, or both? Written by Scott Silver, Todd Phillips, and Bob Kane, this terrestrially bound continuation of Joker (2019) moves at a glacial tilt occasionally shifting to inner dialogue set-pieces based in 1970’s golden era song lyrics, which admittedly is stylistically more colorful and interesting, Phoenix’s physical movement is haunting as Joker and Gaga’s voice soars, but the end result isn’t enough to lift this drawn out and mundane pseudo-romance. Moment’s of dark humor do illicit a chuckle or two throughout, but for fans of the psychopathic criminal mastermind, the search continues, alas, we’re left with just a sad clown. In totality, for all of the non-action throughout, the real narrative boils down to the last 30 seconds of the film, which is to say, this parallel universe/D.C. universe feels too close to boring to be interesting, almost like the way A.I. models create lifelike images based on comics, sometimes fun and interesting for a moment, but in actuality void of the spirit and reason we love their true construct, for escapism and the impossible, of which we only get measured doses of here. Running two hours and eighteen minutes Joker: Folie à Deux is rated R.

Born with a degenerative disease disfiguring his face, Edward (Sebastian Stan), undergoes a new and life changing procedure that cures him of his condition. So, when aspiring playwright and neighbor, Ingrid (Renate Reinsve), bases her latest off Broadway work on Edward’s disfigured life, the now cured Edward takes a secret fascination with Ingrid and her piece. But, when a confident, gregarious, and similarly uncured and disfigured actor, Oswald (Adam Pearson), enters the picture, Ingrid’s focus changes and poor Edward struggles to keep up; the lesson, careful what you wish for. Written and Directed by Aaron Schimberg this rough around the edges but cautionary tale centers around a study of confidence, the male ego, and what it is to be visible but invisible in public; definitely conversation material and a spur for discussion in the spirit of a Spike Jonze or Yorgos Lanthimos. A psychological thriller by design with strong performances by the ensemble, and a haunting score by Umberto Smerilli, A Different Man rolls out as a slow burn for it’s hour and fifty-two minute runtime providing plenty of narrative surprises to keep things interesting along the way. Worthy of your time if you’re able to embrace the unusual, A Different Man is rated R.

Days before shoving off to college, eighteen year old Elliot (Maisy Stella) and her girlfriends take a trip to the woods to experiment with psychedelic mushrooms; but, when that spiritual experience brings her face to face with her 39 year old self (Aubrey Plaza) from the future, her life’s trajectory hangs in the balance, and now, she may have to rethink everything. Written and Directed by Megan Park the philosophical dilemma of what advice would you give to your younger self is the driving premise behind this entire film, which could present all kinds of time travel sci-fi hang-ups, save for a massive amount of suspension of disbelief, and, instead we’re presented with an endearing coming of age tale that is a surprisingly emotional and introspective. Youthful in its dialogue Park manages to capture the wit and sensibilities of two generations met with the chops of both Plaza and Stella, bottom line the cine-magic works. This 89 minute romp into comparative sociology rounds out just in time for college students headed back to school and gives pause to the ubiquitous question “what if?” Get past the title and the end result is thoughtful and fun! My Old Ass is Rated R.