HOPING to recapture highly volatile lightning in a bottle this week, Warner Bros is releasing “Joker: Foile à Deux”, the sequel to the surprise 2019 hit that launched their “DC Black” label.

The first Joker film – focusing entirely on the genesis of Batman’s chief antagonist – turned out to be an homage to the cinematic style of Martin Scorsese.

It was a remarkably restrained drama and character study that took some time to explore social themes such as mental health and poverty.

Whether filmmaker Todd Phillips did that well is a subjective question, but it’s clear that he has no interest in simply retreading old ground.

This sequel is set to be less of a gritty, urban crime drama, and is instead being advertised as a musical.

Joaquin Phoenix returns as Arthur Fleck (AKA The Joker) who has been imprisoned in Arkham Asylum following his multiple murders.

In Arkham he connects with Lee Quinzel, played by Lady Gaga, whose obsessive fixation on the Joker will entangle her in his web of influence, as those inspired by his apparent stance on social justice form plans to secure his freedom.

Those who complain that comic book films are all the same may find this to be the surprise twist on the format that they have been looking for.

“Noah’s Ark”

If you’re looking for an alternative for the kids however, “Noah’s Ark” is an animated feature coming to cinemas.

A feature developed largely in Brazil, the film is a family comedy telling the Sunday School and scripture class favourite from the perspective of an extra two stowaway mice.

In an effort to maintain peace and tranquillity among animals that would ordinarily prey upon one another, the mice (Tom and Vini) organise a singing contest.

This kind of film is critic-proof, as the primary motivation seems to be to keep children engaged for an hour and a half, in which case it will undoubtedly succeed.

“The Critic”

For something with a little more edge this week, “The Critic” finally has its Australian release.

Not quite intense enough to be called a thriller, and without an actual mystery for the audience to follow, this film is a melodrama set in London of 1934.

Ian McKellen plays the titular critic who writes for a distinguished British publication, but whose acerbic and arrogant style are at odds with the paper’s conservative owner, played by Mark Strong.

When the critic is fired following the revelation that he is homosexual, he plots complicated and manipulative revenge, drawing everyone in his orbit into a web of bitterness and death.

This film is beautifully shot and the actors are all putting in some strong performances, but without any real sense of humour to the script, the experience is little more than watching people being increasingly terrible to one another.

By Lindsay HALL