This past weekend saw the release of the long-anticipated Joker solo film from director Todd Phillips, and with a record-breaking domestic opening weekend of approximately $93.5 million, it seems the months of controversy and hype leading up to the film’s release translated into sizeable ticket sales. Ticket sales are one thing but another question looms larger: is

Joker

any good?

This jarring film follows the perilous path of Arthur Fleck, a failing stand-up comic who spends his days in a clown costume spinning a department store sign on the streets of Gotham and his nights watching television with his mother in their shared apartment. We see the ways in which the world has beaten him, broken him, and cast him aside. This societal abuse, combined with a powerful — if occasionally less-than-tactful — portrayal of delusional mental illness, results in Fleck’s transformation from a man cast to the outskirts of humanity to the Clown Prince of Crime: Joker.

The success of the film is truly dependent on the performance of its lead, and in this regard,

Joker

surpasses all expectations. Joaquin Phoenix is nothing short of electric in his portrayal of the titular villain, and from the moment he appears on screen, one simply cannot tear their eyes away. While Heath Ledger undoubtedly set a gold standard for portrayals of Batman’s most nefarious opponent in The Dark Knight, Phoenix in many ways surpasses his predecessor. Where Ledger’s Joker was a frantic psychopath with a penchant for masterminding complex plans, Phoenix’s is a man consumed by the horrors of what he is becoming.

The violence in this film is unique, as it completely lacks the coordination or elegance that one expects from a Hollywood blockbuster. Arthur Fleck’s murders truly embody this chaotic nature, with the film focusing on the sporadic and explosive bursts with which they occur instead of the sharpness that characterized Ledger’s actions. The discussion of this film’s use of violence brings us to an area of particular controversy surrounding this movie: many worry that the portrayal of such a compelling villain may result in some people wishing to imitate him. While it is never fair to place the blame of tragedy solely on art or media, one can’t help but wonder if the Joker may still be an alluring figure in spite of how pained Phoenix seems in the role.

It is worth noting one other particular area that separates Phoenix’s Joker from the rest — his laugh. It is not the maniacal guffaw of Joker’s past, but a hoarse, painful thing that Fleck seems to be constantly fighting, as if his laugh is the very essence of the Joker clawing its way up and out of his throat. By the movie’s conclusion, when Fleck has passed the point of no return and allowed himself to become the Joker, his laugh comes easily, lilting callously above the rioting masses in Gotham.

While this film could have been deeply compelling with nothing more than Joaquin Phoenix in an empty room, lovers of artistic visuals will find their cravings satiated by the gorgeous-yet-understated cinematography that compliments Arthur Fleck’s descent into chaos. Drawing comparisons to films like

Taxi Driver

for more than just its content, one can see clearly how Todd Phillips stands mightily upon the shoulders of giants for his first real attempt at a character study.

In line with the film’s other overwhelmingly positive characteristics,

Joker

’s use of sound design is remarkable and contributes to the film’s unsettling nature. The grating background tones have a disorienting impact on the viewer, furthering their connection to the lead’s unnerving journey.

In short,

Joker

is an outstanding film that will leave audience members unsettled for quite some time. One can only hope that the message this movie offers — a stunning condemnation of its protagonist’s violent ways — is not misinterpreted.