For a movie that was more about one man’s mental health condition than anything related to comic books, 2019’s Joker was shockingly successful, making over $1 billion worldwide and nabbing a Best Actor Oscar for Joaquin Phoenix. Phoenix and writer/director Todd Phillips are back with Joker: Folie à Deux (literally meaning "a madness of two"), a film that has some of the same themes but a story that could not feel more different.

After his murder spree in the first film, Arthur Fleck (Phoenix) now calls Arkham Asylum home, where he is alternately tortured and favored by the guards, and revered by his fellow patients. Arthur plays nice for the most part, which leads one of the guards, Jackie Sullivan (Brendan Gleeson), to allow him to attend a music class in the minimum security ward of the facility, where he meets Lee Quinzel (Lady Gaga).

The immediate connection between Arthur and Lee allows Arthur to indulge in more than a few fantasies, ones that manifest themselves in the film as musical sequences involving the two of them. As his fortunes change and he is forced to stand trial for his crimes, Arthur returns to the fantasies repeatedly, with Lee giving him a sense of hope and security that has been missing from his life.

The film, co-written by Scott Silver, features songs so often that the boundary between reality and fiction within the story is completely blurred. Some of the songs show Arthur, Lee, or both singing at Arkham, while others emulate old musicals by creating numbers on a set meant to look like the Murray Franklin talk show from the first film. It’s fair to wonder how much, if any, of it is real or just things that Arthur has conjured to comfort himself.

Most of the songs - “Good Morning,” “Get Happy,” and “That’s Entertainment,” among others - are cribbed from the classic movie musical era of the 1930s-1960s. Their titles and lyrics have surface-level relevance to the story being told, but it’s hard to say their meaning goes deeper than that. They are also so chopped up and delivered so often that it’s difficult to tell what kind of importance Phillips was trying to put on any one individual song.

While the music is the obvious big change, the more significant one is the film’s almost total lack of action. The focus on Arthur and Lee’s possible relationship and Arthur spending most of the film at Arkham leads to very few scenes of mayhem. In fact, hardly anything of substance happens until the film’s final act, and what does happen is less impactful than what fans of the first film may want.

Phoenix, just as he did in Joker, commits fully to the role, appearing to become gaunt once again and making sure the character is sufficiently disturbing. The arc makes him quieter and less annoying this time around, which may or may not disappoint some viewers. Lady Gaga is fine as the character otherwise known as Harley Quinn, although it’s interesting that she was likely hired for her singing ability and the film rarely lets her truly let loose.

If the nihilistic tones of Joker made it a surprise billion-dollar movie, it would be even more of a shocker if Joker: Folie à Deux made anywhere near that type of money. The Joker character has been approached in many different ways, but this is one of the oddest yet.

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Joker: Folie à Deux opens in theaters on October 4.