Actor and comedian Tim Dillon, who played an Arkham Asylum guard in Joker: Folie À Deux, didn’t hold back on his harsh opinion of the film. During a candid interview with Joe Rogan, Dillon openly criticized the movie starring Joaquin Phoenix and Lady Gaga, calling it “the worst film ever made.” He explained that he had doubts about the movie’s direction and tone from the start, which he believes contributed to its disappointing performance.
Early Doubts on Set
When Joker: Folie À Deux hit theaters in October, it only managed to bring in $200 million globally—a steep drop from the original Joker film’s billion-dollar success. Dillon revealed that from his early days on set, he and others sensed the movie’s tone might alienate audiences. “We would sit around, me and the other guys dressed as Arkham guards, shaking our heads,” he said. “It was clear to us that it was going to bomb.”
In fact, Dillon’s reaction mirrors recent comments by Jennifer Lopez, who expressed her disappointment in her latest film’s reception. Read more on that here.
Surprising Shift in Tone
Dillon explained that one of the biggest issues with the film was its unexpected shift from gritty realism to a musical format. Rather than sticking to the dark themes that captivated audiences in 2019, the sequel introduced song and dance numbers. “After the first Joker, they seemed to think going in the opposite direction would work,” Dillon said. “Now you’ve got Joaquin Phoenix and Lady Gaga tap-dancing.”
Audience Reaction
As Dillon watched the movie in theaters, he couldn’t help but notice the confusion on audience members’ faces. “You could see it—people were lost,” he observed. While the film opens on a promising note, the switch to musical scenes leaves viewers unsure of what to expect. He even joked, “It’s not even hate-watchable; it’s just confusing.”
A Misguided Vision
Dillon suggests that Joker 2’s failure stems from director Todd Phillips’ overconfidence in audience loyalty. “They thought they could do anything, and people would love it,” he remarked. Dillon’s critique emphasizes how creative risks can fall flat when they stray too far from what initially engaged audiences.
