Comedian Tim Dillon recently voiced strong criticisms against Joker: Folie à Deux, labeling it as “the worst film ever made.” His comments have sparked widespread attention, especially as he was involved in the movie, voicing a character in Arkham Asylum. Dillon shared his thoughts during a conversation on The Joe Rogan Experience podcast, where he highlighted issues with the film’s plot, direction, and unexpected musical angle.

Tim Dillon’s Scathing Remarks on Joker: Folie à Deux’s Direction and Tone

Tim Dillon, who played a small role as a security guard in Joker: Folie à Deux, did not hold back his opinions when asked about his experience working on the film. According to Dillon, the sequel took drastic departures from the original Joker movie, shifting away from the intense psychological themes that fueled discussions about male rage and nihilism. He suggested that in response to critics of the first film, the creators of the sequel chose an extreme approach, resulting in what he deemed a chaotic and overly theatrical production.

“I think what happened, after the first Joker, there was a lot of talk like, ‘Ooh, this was loved by incels. This was loved by the wrong kinds of people. This sent the wrong kind of message. Male rage! Nihilism!’ All these think pieces,” said Dillon during the podcast.

He then explained that these critiques may have influenced the sequel, leading the filmmakers to move toward an exaggerated direction, ultimately producing a film that is now part-musical. Dillon described scenes where Joaquin Phoenix and Lady Gaga perform dance sequences, a choice he felt detracted significantly from the storyline. Although the film was not officially promoted as a musical, both Phoenix and Gaga were later submitted for award nominations in the Musical or Comedy categories at the Golden Globes, adding to the film’s controversial reception.

Behind-the-Scenes Discontent Among Cast and Crew

Dillon also shared details about on-set discussions among the cast, particularly during scenes shot at Arkham Asylum. He recalled that while filming in character as security guards, some cast members expressed confusion about the film’s direction and apparent lack of narrative purpose. According to Dillon, conversations often centered around the film’s lack of clear goals, with actors wondering how the story would resonate with audiences.

“We’d hear this crap, and I’d go, ‘What the f**k is this?’ And they’d go, ‘This is going to bomb, man.’ I go, ‘This is the worst thing I’ve ever done,’” he revealed. Dillon added that some cast members even joked about the plot being so incoherent that it was nearly impossible to follow.

In his criticisms, Dillon described how cast members speculated on basic plot points during lunch breaks, struggling to make sense of the storyline and character dynamics. He mocked the loose narrative, saying that while some believed the Joker character falls in love with Lady Gaga’s character within the prison setting, there was little context provided for this development. Dillon described the film as “not even hate-watchable,” emphasizing his belief that the film’s lack of direction made it unenjoyable even for fans of cult cinema.

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Mixed Critical and Commercial Reception for Joker: Folie à Deux

Joker: Folie à Deux experienced a rocky start upon release, with both critics and audiences expressing divided opinions. Although the movie’s first weekend generated $38 million domestically, it suffered an 81 percent drop in its second weekend at the box office. According to The Hollywood Reporter, the film has grossed approximately $205 million worldwide as of recent reports.

The movie currently holds a 32 percent rating on Rotten Tomatoes, reflecting a largely negative critical response. Many reviewers and moviegoers have echoed Dillon’s criticism, pointing to the film’s unusual shift in tone and perceived lack of focus as reasons for disappointment. Despite the fan anticipation following the success of the first film, Folie à Deux appears to have struggled to replicate the impact of its predecessor, both in terms of narrative structure and box office performance.

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