Experiencing ‘Joker: Folie à Deux’ on opening night – A night to remember

A reluctant evening unfolds

During a Thursday meeting, I found myself unexpectedly volunteering to cover the opening night of ‘Joker: Folie à Deux’. Unlike my previous experience with the first ‘Joker’, where I enjoyed a grand premiere at the Toronto Film Festival among esteemed critics and celebrities, this time I envisioned myself surrounded by fervent fans, ready to embrace the chaos of a packed theater. Spoiler: my assumptions were off.

The surprising scene at the Grove

Expecting a Friday night crowd at the Grove AMC Theater to illustrate the film’s nationwide reception, I arrived at the ticket kiosk twenty minutes before the show. Surprisingly, the theater was nearly empty, with seats still widely available. The film’s disappointing “D” CinemaScore would surface 12 hours later, but the sparse attendance was already telling.

Even a helpful attendant seemed unsurprised, noting, “The Prime and the Dolby screenings sell out, but regular ones, not much. I was going to watch it until I saw the reviews.”

Unexpected theater emptiness

As I navigated through the theater options, the Dolby screening was about to start with trailers still playing, and tickets were still up for grabs. Astonishingly, even the IMAX screening showed ample availability; only a few seats were taken. This trend was troubling for a high-budget film meant to draw in wide-ranging audiences.

There was time to spare, so I decided to chat with patrons and gather their initial impressions. One student’s review, “I liked this better than ‘Megalopolis’,” left me puzzled regarding its sincerity. Another attendee, there for Lady Gaga, found humor in the film, albeit uncertain if it was intentional.

A different demographic

What struck me most wasn’t just the empty seats but the demographic shift. The expected comic book enthusiasts were absent. Instead, couples, ranging from straight and gay to young and middle-aged, filled the seats, creating a romantic setting rather than the anticipated sea of fanboys.

“The first film had a lot of nods to comic book fans, but this one’s different,” commented Landon, sporting a T-shirt proclaiming, “Only anarchists are pretty.”

The financial mystery

With a bloated budget of $200 million, questions about the film’s fiscal prudence arose. Matthew, another patron, remarked, “Where did the money go? It mainly set in four locations. Probably spent on Gaga and Phoenix.”

As I settled into my mid-aisle seat—reluctantly not near an exit given the unsettling memories of the Aurora gunman—the odd atmosphere continued.

A discordant audience

The couple to my right switched seats before trailers ended, only to be asked to move back by another couple as the film began. Their public displays of affection distracted me from the opening scenes, and my concerns shifted from safety to discomfort with their proximity and behavior.

Throughout the movie, audience members constantly moved in and out, creating an almost busy airport lounge atmosphere. Despite the disruption, the energy was curiously low. No laughs at the quips, no cheers at dramatic moments—just a subdued acceptance of the film’s intensity.

At the end of the screening, many attendees, including the gay couple I tried to chat with, left hastily, missing the credits showcasing the monumental effort behind the production.

Reflecting on the experience

As the lights rose, I approached the lone person who resembled a fanboy. Tedashii’s seemingly mild critique of the sequel, “Long but enjoyable,” belied a frustrating experience with disengaged fellow viewers. “People were whispering, hugging, and kissing. I couldn’t understand why they’d spend money on tickets just to ignore the movie.”

These impressions do not forebode well for a high-budget film in need of widespread success. The absence of enthusiasm and typical fanfare signals a challenging reception for ‘Joker: Folie à Deux’.

Final thoughts

Reflecting on my unexpected evening at the Grove, it was a far cry from the charged environment of the Toronto Film Festival. This subdued, almost nonchalant audience mirrored a more reflective, less enthusiastic reception to a film intended to captivate and shock.

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