The “Joker” is wild.

The reboot, or origin story, of the arch-villain from the DC Comics’ “Batman” franchise, is a tour de force.

While the movie jettisons the article “the,” in the name of the character and the movie’s title, it retains the menace.

The Joker is a villain, created by Bill Finger, Bob Kane and Jerry Robinson, who first appeared in the “Batman” DC Comics on, April 25, 1940.

The Joker is a criminal mastermind who is a psychopath with a sadistic sense of humor. The character was toned down and became more of a prankster in the late 1950s because of regulations by the Comics Code Authority. The Joker’s darker side was re-emphasized in the early 1970s.

The Joker has been Batman’s adversary in live-action and animated movies and video games, including the “Batman” television series (1966-1968), as played by Cesar Romero, and in the theatrical feature movies, “Batman” (1989), as played by Jack Nicholson, and “The Dark Knight” (2008), as played by Heath Ledger.

In keeping with the characteristics of Joker in DC Comics, he’s a villain without superpowers. Thus, “Joker” is thankfully free of CGI special effects. The superpower that Joker does have is misery, and there’s plenty of that on his part to spread around. And, boy, does he.

“Joker,” which stars Joaquin Phoenix in the title role of Joker, is the first stand-alone theatrical movie featuring the character. No spoilers here, but “Joker” leaves room for sequels, should Phoenix choose to reprise his role. The film references the back story of Bruce Wayne, aka Batman, and of his father Thomas Wayne.

“Joker” has divided movie reviewers and movie fans. Look for “Joker” to be a top Oscar contender in multiple categories, including an Oscar actor nomination for Phoenix.

“Joker” has caused movie theaters to enforce a “no costume” policy for moviegoers, which is posted at some Lehigh Valley multiplexes.

There’s no denying the power, craftsmanship and excellent quality of “Joker” as a film.

The film received the “Golden Lion” as best film, and also the fan award, and soundtrack award (Hildur Guðnadóttir, 2019 Primetime Emmy recipient, “Chernobyl”) at the 2019 Venice Film Festival.

Phoenix is astounding in the title role. As Movie Maven Michael Gontkosky of Whitehall said after a recent screening: “Nobody else but Joaquin Phoenix could play this role.”

Phoenix brings all his acting skills to bear for the role. As Arthur Fleck, he’s a sad sack as a lonely, misunderstood actor who works for a talent agency as a clown for hire. In full Bozo outfit, he’s harassed by street punks, who take the “Everything Must Go” placard he’s displaying in front of a store and beat him over the head with it. Also, in clown outfit, he’s beaten by three yuppies on a subway car.

At that point, Arthur Fleck, which is the Joker’s given name, has had just about enough. We see the track of his life begin to diverge as his personality splits in two.

On the one hand, after he’s fired from the acting agency, he aspires to be a standup comedian who wants to be a guest at a Johnny-Carson styled late-night talk show hosted by Murray Franklin (a never-better Robert De Niro). Arthur is also caring for his invalid mother, Penny Fleck (Frances Conroy) in their squalid apartment. And Arthur harbors a growing desire to develop a relationship with Sophie Dumond (a terrific Zazie Beetz).

On the other hand, the tabloid headlines scream about the Killer Clown vigilante, spawning a protest movement of the have-nots against the haves, as angry mobs don cheap plastic clown masks when they take to the streets. Arthur Fleck, transitioning into Joker, relishes with glee the mayhem he has wrought.

Phoenix folds into the role of Arthur, aka Joker, like a jackknife, snapping open as a reflection of the collective id, a sad angel downcast, thrust down, to become a vengeful devil. Not enough can be said about Phoenix’s masterful performance, from his basset hound sad eyes, to his insectlike sinewy body, to his random flashes of delight and dancing. Phoenix kicks up his heels in glee as the Joker in red blazer, yellow vest, whiteface and green hair.

The screenplay by director Todd Phillips and Scott Silver (Oscar nominee, original screenplay, “The Fighter”) sets up the obvious so cleverly for the character of Arthur Fleck: a clown who masks inner pain, emotional scars and psychological turmoil. He’s a mentally disturbed person who doesn’t receive the proper medication and counseling. He also suffers from a neurological problem: the Pseudobulbar effect (PBA), or emotional incontinence, an emotional disturbance characterized by uncontrollable crying or laughing at inappropriate times, also known as emotional lability, which can be caused by a neurological disorder or brain injury.

Balanced, or unbalanced, against Arthur Fleck is Murray Franklin, a glib talk-show host, whose theme song is Frank Sinatra’s “That’s Life,” presented in a whole new context here, with emphasis on the lyrics, “Some people get their kicks/Stompin’ on a dream.” That was Arthur Fleck’s fate and it became his future. Franklin and Fleck do a dangerous dance, which leads to one of the film’s most horrific scenes. De Niro, who starred in “Taxi Driver” (1976) and “King of Comedy” (1983), flips the script effectively on his screen persona.

“Joker” apparently takes place in a gritty Gotham City circa 1981 (Director of Photography Lawrence Sher, “Godzilla: King of the Monsters,” 2019; “The Hangover,” “Garden State,” 2004), based on movie titles displayed on movie theater marquees (including “Zorro: The Gay Blade,” 1981), and 1970s and 1980s era automobiles seen on the streets.

“Joker” is not a horror film per se, but more of a psychological thriller on the order of “Psycho” (1960), “Taxi Driver” and “The Silence of the Lambs” (1991). It’s the story of a loner, bereft of hope, denied love, and seduced by hatred. “Joker” is a cautionary tale for these times we live in.

“Joker” is an unexpected breakthrough work by Director Todd Phillips, known for the comedic crowd-pleasing theatrical features, “Hangover,” 2009, and its 2011 and 2013 sequels.

“Joker” is also a crowd-pleaser, but for different reasons. It cuts to the core of marginalized individuals, dreams deferred and society run amok.

“Joker,”

MPAA Rated R (Restricted Under 17 requires accompanying parent or adult guardian. Contains some adult material. Parents are urged to learn more about the film before taking their young children with them.) for strong bloody violence, disturbing behavior, language and brief sexual images; Genre: Crime, Drama, Thriller; Run time: 2 hrs., 2 mins. Distributed by Warner Bros.

Credit Readers Anonymous:

“Joker” soundtrack uses pop songs to great ironic effect, including, “Everybody Plays the Fool” (1972) by The Main Ingredient; Stephen Sondheim’s “Send in the Clowns,” by Frank Sinatra; Charlie Chaplin’s “Smile,” by Jimmy Durante, and music from Charlie Chaplin’s “Modern Times” (1936).

Box Office,

Oct. 18-20: Angelina Jolie as “Maleficent: Mistress of Evil” opened at No. 1 with a less-than-expected $36 million, sending “Joker” packing from a two-weeks-straight stint at No. 1, dropping one place to No. 2, with a still-strong $29.2 million, $247.2 million, three weeks, as “Zombieland: Double Tap” opened solidly at No. 3 with $26.7 million.

4. “The Addams Family” dropped two places, $16 million, $56.8 million, two weeks. 5. “Gemini Man” dropped two places, $8.5 million, $36.5 million. 6. “Abominable” dropped two places, $3.5 million, $53.9 million, four weeks. 7. “Downton Abbey” dropped two places, $3 million, $88.6 million, five weeks. 8. “Judy” dropped one place, $2 million, $19 million, four weeks. 9. “Hustlers” dropped three places, $2 million, $101.8 million, six weeks. 10. “It Chapter Two” dropped two places, $1.5 million, $209.6 million, seven weeks.

Unreel,

Oct. 25:

“Western Stars,”

PG: Bruce Springsteen and Thom Zimny codirect the documentary of a live concert of Bruce Springsteen performing songs from his album, “Western Stars.”

“The Last Full Measure,”

R: Todd Robinson directs Bradley Whitford, Samuel L. Jackson, Sebastian Stan and William Hurt in the war drama. Thirty-four years after his death, Airman William H. Pitsenbarger, Jr. is awarded the Medal of Honor.

“The Current War: Director’s Cut,”

PG-13: Alfonso Gomez-Rejon directs Tom Holland, Tuppence Middleton, Benedict Cumberbatch and Matthew Macfadyen in the biography drama about the rivalry in to establish a commercial electricity system between Thomas Edison, Nikola Tesla and George Westinghouse.

Four popcorn boxes out of five popcorn boxes