6.5 | / 10 |
Users | 0.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
An aspiring clown grappling with her gender identity combats a fascistic caped crusader in writer-director Vera Drew’s uproariously subversive queer coming-of-age origin story.
Starring: Scott Aukerman, Maria Bamford, Christian Calloway, Lynn Downey, David Liebe HartComedy | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
English: DTS-HD Master Audio 5.1
English SDH, Spanish
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
Movie | 3.0 | |
Video | 4.0 | |
Audio | 4.5 | |
Extras | 5.0 | |
Overall | 4.0 |
“The People's Joker” opens with a few paragraphs of legalese, putting the picture behind the protective wall of “fair use” before it begins. And one can understand the anxiety of the production, as co-writer/director/actress Vera Drew wields the world of D.C. Comics and the D.C. Extended Universe to inspire a “queer coming-of-age film” that uses the history of Batman and Superman in ways never before seen on screen. Drew attempts to create a subversive comedy about identity, self-worth, and the many ways of love with the endeavor, employing pop culture sacred cows to propel a highly bizarre movie that remains somewhat formulaic with characterization, but essentially lives to poke at superhero entertainment. Drew goes the DIY route with “The People’s Joker,” basically building a greenscreen odyssey into comedy and concern that’s impressively imagined at times, representing a real homegrown effort to complete a personal vision for mischief and creative expression. Actually sitting through the feature is a bit more challenging.
The AVC encoded image (2.39:1 aspect ratio) presentation for "The People's Joker" works with a movie that's all about color and visual mischief. Hues are stable, exploring the comic book world of the feature, including Joker-branded purples and greens. Primaries are alert, touring the strange worlds of the picture, which provides a very art-intensive journey. Skin tones are natural. Makeup designs are defined. Detail handles with some softness in the highly processed endeavor, examining the skin surfaces on the exaggerated appearances of the cast, along with the extremity of makeup effects. Wilder costuming efforts are decently fibrous. "The People's Joker" largely exists in a digital realm, but artful offerings are appreciable and sometimes textured. Delineation is satisfactory, preserving shadowy events. Compression struggles periodically, with mild banding present.
The 5.1 DTS-HD MA mix secures sharp dialogue exchanges from a variety of performance choices, capabilities, and tech limitations. Dramatic intent is understood, and hushed emotional offerings are intelligible. Scoring supports with a defined synth sound, and musical moods generally push into the surrounds, creating a more enveloping listening experience. Electropop songs are crisp, with a fuller presence on the track. Low-end also does well with heavier beats. Sound effects are distinct, and atmospherics are appreciable as the film works around unreal environments.
"The People's Joker" is almost handmade, watching Drew piece together the feature one shot at a time, going anywhere possible to bring unusual visuals to the movie. And there's a defined emotional journey as well, exploring the ways of duality and pursuit of confidence clearing a lifetime of shame, finding Drew determined to instill as much of the screenplay with her perspective. It's a laudable effort and the picture is interestingly constructed. However, 90 minutes of this piecemeal approach does wear on the senses after the hour mark, with Drew periodically getting noisy with the endeavor, and a dramatic shape for it all doesn't materialize. There's directorial bravery and cheekiness to "The People's Joker," but there's also the nagging feeling that what Drew really has here is a terrific short film.
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