Joker: Folie a Deux (2024)

Direction: Todd Phillips
Country: USA 

Five years after the remarkable Joker, its sequel, Folie à Deux, feels more like a crowd-pleasing cabaret show than a gripping psychological thriller. Directed once again by Todd Phillips and starring Joaquin Phoenix, the film fails to capture even half the impact of its predecessor. While attempting to juggle multiple genres—a courtroom drama, a depressive musical, a twisted love story, and a social satire—it ultimately collapses under the weight of its own ambitions. 

Lady Gaga co-stars as the manipulative Lee, also known as Harley Quinn, singing mediocrely throughout and showing little to no chemistry with Phoenix. Their bizarre romance lacks the emotional depth needed to sustain the story, and the film looks too self-absorbed in showing the viewers how quirky and moving it thinks it really is. Meaningless and unnecessarily long, Folie a Deux is less and less appealing as it lurched toward the end. If you’re expecting chills or thrills, you'll be disappointed. The inclusion of jazz standards disrupts any potential for the sinister, unsettling atmosphere one might expect from a film centered on iconic supervillains.

Despite these shortcomings, Phoenix always fascinates, though even his brilliance can’t salvage the awkward plot. The film never fully draws you in, but for fans of Phoenix, his performance may be the only saving grace in an otherwise lackluster sequel.

Strange Darling (2024)

Direction: JT Mollner
Country: USA 

JT Mollner delivers a sledgehammer blow to the audience with his sophomore feature, Strange Darling, a violent, electrifying, and psychologically twisted thriller designed to shock and unsettle. Shot in 35mm and presented in six non-linear chapters that subvert conventional thriller narratives, the film unfolds in rural Oregon in the 1970s, carving a bloody path while generating palpable suspense and a constant sense of dread. 

Darkly humorous and perversely amusing, the film provokes queasiness and anxiety, ensnaring viewers in a tangled web of questions about motivations and personality disorders. The vicious game is rendered with sharp close-ups, unexpected twists, and appropriate use of light, sound, and editing. Mollner reveals this routine inclination to extract poetic resonance from moments of pain and bloodshed—an artfully conceived exercise in disturbance, but not particularly cerebral. Still, the film succeeds by refusing to let the audience catch their breath, compelling them to accept it on its own, wild terms.

Without revealing the serial killer’s past, Strange Darling would form a compelling triptych with Coralie Fargeat’s Revenge (2017) and Ti West’s MaXXXine (2024). It’s a visceral, provocative, darkly feminist thriller that occasionally laces its brutality with humor. Willa Fitzgerald (The Goldfinch, 2019) seizes her moment to shine, but it’s Kyle Gallner (Dinner in America, 2020) who truly stands out. A special mention goes to Giovanni Ribisi, the former actor and first-time cinematographer, for his impressive work behind the camera.

I Saw the TV Glow (2024)

Direction: Jane Schoenbrun
Country: USA

Like in her previous feature, We're All Going to the World's Fair (2021), director Jane Schoenbrun blurs the line between reality and fantasy in I Saw the TV Glow, a depressing psychedelic trip filled with mind-inducing eeriness and ambiguity. 

The narrative follows Owen (Justice Smith), a 7th-grade teenager living in the suburbs, who becomes addicted to an obscure TV show called The Pink Opaque. His life gets less empty when he bumps into Maddy Wilson (Brigette Lundy-Paine), another obsessed fan who admits the show feels more real than real life. Suddenly, they realize they have become players in a dangerous game. Everything changes when Maddy leaves without a trace, only to return eight years later with a confused memory and a different notion of time. 

I Saw the TV Glow is aesthetically curious, but its disjointed ideas don’t coalesce into a satisfying whole. Schoenbrun can't avoid force-feeding us metaphors during this infinite fever dream, opting for vague contrivances rather than providing real substance. The underlying tension is constantly present but never packs a wallop. The vision is too narrow for that, transforming this experimental gimmick into a lumbering, misguided mess.

The film, co-produced by Emma Stone, aims for the bizarre but ends up more mind-numbing and emotionally deserted than clever. Paranoia and melancholy swallow aimless phosphorescent kids… is that all you’ve got to offer, Ms. Schoenbrun?

Fair Play (2023)

Direction: Chloe Domont
Country: USA

This erotic psychological thriller, directed by Chloe Dumont in her directorial feature debut, starts with a bang, has a tense middle part, but heavily stumbles in the final act. Written by the American director, Fair Play dissects a couple’s relationship that becomes toxic when Emily (Phoebe Dynevor) snags the coveted promotion that was expected to go to her colleague and secret fiancé, Luke (Alden Ehrenreich). Both of them work in a demanding Manhattan hedge fund led by Campbell (Eddie Marsan), the cold, insensitive, and sometimes ruthless CEO who treats them disparately. Seeing enormous potential in Emily, he completely snubs Luke.

The film delves into the limits of ambition, exploring psychological abuse and toxic masculinity within the backdrop of a gripping corporate setting. Although it can be a positive viewing experience for some, it grapples with several issues, particularly in the emotional department. The cynicism sometimes masks itself as profound revelation, and the storyline can feel somewhat familiar, eventually losing momentum in its final stretch. However, Dumont's timing remains sharp, and her portrayal of the tense corporate atmosphere is disturbingly convincing.

While the characters’ transgressions are intentional, cruel, and punishable, the story is sustained by the mechanics of rivalry, ambition, fragility, exclusion, and jealousy. Fair Play is a love story in much the same way that Kramer vs. Kramer is a comedy. It touches a nerve with topics such as abusive corporation treatment and sexual harassment. However, it falls short of realizing its full potential, with a conclusion that doesn't quite measure up to the rest of the narrative.

Inside (2023)

Direction: Vasilis Katsoupis
Country: USA

Slightly intriguing yet not particularly mind-blowing, Inside is a part artsy, part survival psychological thriller written by Ben Hopkins (The Nine Lives of Tomas Katz, 2000; The Market, 2008), directed by Vasilis Katsoupis (in his directorial debut), and almost exclusively starred by Willem Dafoe (The Lighthouse, 2019; Tommaso, 2019). He plays a notorious art thief whose life becomes threatened when he gets trapped in a luxurious Manhattan penthouse.

Before we see this coordinated heist getting wrong, Nemo (Dafoe), the narrator-thief tells that, above anything else, art is for keeps. He also confesses he likes a challenge, but probably not one like he was about to describe. In search of valuable works by the expressionist Egon Schiele, this art maniac will have to fight for his life when locked in a fancy apartment with barely no food, no water, no cooking gas, and no landline phone service. If this was not enough, a broken thermostat gets him freezing cold and sweltering hot by turns. The discomfort goes even further as the fridge automatically plays that annoying “Macarena” song whenever its door remains open for more than a minute.

Inside is like Cube (1997) without the inventiveness of sci-fi. It’s too ponderous and controlled to provide any thrills, and the lack of rhythm makes any possible isolation-driven tension dissipate. 

A minimalistic piano score attempts to potentiate the solitude of a man on the verge of losing his mental sanity. There’s also this surreal side - introduced via eerie dreams - that doesn’t take us anywhere tangible. I found this unfinished nightmare to be more pretentious than gripping, yet kudos to Dafoe for the dedicated performance.