Why so serious? Todd Phillips’ solemn but shallow supervillain origins movie has a strong performance by Joaquin Phoenix but is weighed down by realist detail and tedious material

The year’s biggest disappointment has arrived. It emerges with weirdly grownup self-importance from the tulip fever of festival awards season as an upscale spin on an established pop culture brand. Last year we had Luca Guadagnino’s solemn version of Suspiria, and now it’s Joker, from director and co-writer Todd Phillips: a new origin myth for Batman’s most famous supervillain opponent.

Joaquin Phoenix plays Arthur Fleck, a pathetic loser and loner in Gotham City, some time in the early 1980s. Arthur is a former inpatient at a psychiatric facility but is now allowed to live with his elderly mother, Penny (Frances Conroy), in her scuzzy apartment. Poor Arthur has a neurological condition that means he is liable to break into screeching laughter at inopportune moments. He has a crush on his single-mom neighbour Sophie (Zazie Beetz) and pines to be a comedian, hero-worshipping cheesy TV host Murray Franklin (Robert De Niro). But he can only get a job as a clown in grinning makeup and floppy-toed shoes twirling an advertising banner outside a store, where he is bullied and beaten up by young thugs passing by. One day, after the humiliation and despair become too much to bear, Arthur gets hold of a gun and discovers that his talent is not for comedy but violence.