Joker (15)

As mentioned in our little LobbyCast offshoot, never underestimate our ability to know nothing about a film before we go in to it.

This is quite deliberate, as we try and form a 'fresh' opinion, but also remarkably liberating as we get pleasant surprises.

And yes, we're aware that sounds remarkably wanky.

So, heading to see Joker, we were aware of the star, that the director had said Dumb Stuff, and that the Guardian had described it as the worst film of the year.

Which, along with us wondering if we actually needed a film about Gotham's finest loon, suggested we would probably like it.

Turns out we do and we did.

Largely because we helpfully didn't know what to expect – which is almost where people who have complained about this film have come unstuck.

This film is many things – dark, nasty, violent – but what it isn't is funny or a 'superhero film'.

It's also, possibly, DC's finest film to date. For all of the reasons listed above.

Now, granted, no one really thought we needed this film (apart from DC's accountants, obvs) – we've had three defining Joker performances to date, so a fourth was always going to be a big ask.

And Jared Leto had a go too, don't forget.

But by removing any fighting with Batman and focussing entirely on how Joker came to be, Joaquin Phoenix and writer/director Todd Phillips have given us a gritty, 70s-esque movie which pulls no punches.

Central to this is Phoenix himself, who puts in a perfectly measured performance – pulling for your pity while only hinting at the madness that lurks beneath.

The other masterstroke is setting the film in a very real, very modern Gotham, where cutbacks and job losses have the many on their knees while the few carry on as if nothing is happening.

Sound familiar?

The pace of the film is delightfully slow without being laboured, and the supporting cast do just enough to keep you focussed and interested.

And then there's the small matter of Robert De Niro.

Apparently we were the only people to not register that he was in this film, which was great. As is his performance as TV host Murray Franklin, layered and subtle and perfectly positioned against Phoenix.

Topping the whole nasty mess off is the score – if you're a fan of the cello, then this is the film for you.

Moody, haunting jarring, Hildur Guðnadóttir (Chernobyl, Sicario: Day of the Soldado) has created something here that stays with you long after the credits have rolled.

Sadly, but not surprising given this is a DC film, Joker is not without its problems.

The soundtrack features one song that will make you sit up and almost shout WTF in the middle of the cinema, and the two cops trying to track down Joker (or Arthur Fleck as they know him) are basically lifted from any 80s cop show you care to name.

And while the film has things to say about mental health and inequality, you don't get any sense that Phillips really cares or is interested.

Nor do you get any sense that the story, albeit one with a simple, linear narrative, really knows where it is going.

It's a credit to Phoenix that these things fail to detract from the whole experience.

Perhaps the finest thing about this film is the fact it stands alone. Yes, we know the character, yes we've seen him before, but here he's given his own playground and you don't need to have seen any other DC film to get on board.

In fact, Joker stands so alone that it's hard to see where DC go with him from here – because trying to bolt this version into the current DCU will take a crowbar the size of Gotham itself.

But such fears are for another day. For now, just sit back and wallow in the pain, misery and mayhem Phoenix has brought to life with a rare vulnerability.