In this modern era, it seems everything needs a sequel—or a reboot. So, it’s hardly a shock that Joker, the 2019 film from Todd Phillips that gained a following and an Oscar for Joaquin Phoenix, would get a round two. The fact that it’s a musical, however, has seemingly caught some audiences by surprise.

The film picks up two years after the events of that original film. Arthur Fleck (Phoenix) is heavily medicated, locked up in Arkham, and awaiting his trial. The question is whether he’s sane, or better yet whether Joker was just an alternate personality. That’s what his lawyer (Catherine Keener) believes, but his guards, led by Jackie Sullivan (Brendan Gleeson) think he’s faking it.

After doing well enough in Arkham, Arthur is allowed to join a musical therapy group. There, he connects with Lee (Lady Gaga), a fellow patient who is taken with him. She’s seen the TV movie of his life and loves The Joker—who she believes is Arthur’s true self. Habitually lonely in his life, Arthur is drawn to someone who wants to be with him. And their connection ignites in him a life of the mind as he imagines their possible future.

As his trial draws near, Lee encourages him to let the Joker out to take control, creating the means of his salvation. His lawyer has other ideas. Arthur is caught in the middle, torn between love, guilt, and what he wants the world to see.

I wasn’t a fan of the first film. I thought it touched on important topics relating to mental health in a dangerous, often callous way. This film isn’t remarkably different, but it felt more nuanced in some ways that helped the narrative go down easier.

It’s undeniable that the story of Arthur Fleck—and the Arthur Fleck’s out there in the world—is a tragedy. He was failed by the system time and again, which took an immeasurable toll on his fragile mental health. Into that, in this film, comes Lee. She offers love and companionship—but it comes with strings. Arthur has been abused and manipulated his whole life and, sadly, gets that in what he perceives as his first true relationship, too.

In terms of filmmaking, Phillips has some brilliant shots and some great locations. I enjoyed the use of fantasy sequences more here as it’s clearer this is Arthur’s life of the mind, allowing them to go bolder. But at times, there’s an overreliance on certain camera tricks and movies. There was a lot of slow-motion shots at times.

The biggest swing is trying to make it a musical. That doesn’t always work, and the music does little to add to the story or the emotional depth. It feels almost like a tack on at times that doesn’t quite fit the rest of the film.

What does work is Phoenix and Gaga. Phoenix already won an Oscar for this role but does perhaps better work here. His final speech in the courtroom is surprising, engaging, and heart-breaking, and Phoenix sells it beautifully. Gaga also sinks into the part and adds a lot of style and intrigue to the role. The film works best when these two are together one screen.

Ultimately, Joker: Folie a Deux feels like something of a mixed bag. It’s got its moments, but it doesn’t totally work, making for a middling theater-going experience.

Joker: Folie a Deux is now playing nationwide.

Matthew Fox is a graduate of the Radio, Television and Film program at Biola University, and a giant nerd. He spends his free time watching movies, TV, and obsessing about football. He is a member of the FSWA. You can find him @knighthawk7734 on Twitter and as co-host of the Fantasy Football Roundtable Podcast.