There's a kick in watching actors play their widely recognized “types” so flawlessly, and with such fresh enthusiasm, that these roles feel like ideal distillations of their portrayers' talent and presence. I'm thinking of Brad Pitt in Once Upon a Time … in Hollywood and Julia Roberts in Erin Brockovich … and also, now, Jesse Eisenberg and Kieran Culkin in A Real Pain.

Hugh Grant is is stunningly threatening in this Beck/Woods horror thriller, his recognizably benign shrugs, cheerful mugging, and self-effacing manner never masking the fact that there is one person in charge of this situation, and it isn't one of the visiting Mormons.

First M. Night Shymalan makes his chanteuse daughter a significant part of his thriller Trap, then Todd Phillips floods his Joker followup with songs, and now this. Is no genre safe from the global Swift-ification?

If you thought the title and genre were initially baiting and galling to die-hard Joker acolytes, just wait'll you get a load of Folie à Deux itself, which is like a big, extended middle finger to everyone who adored the original movie – as well, perhaps, as a giant eff-you to Warner Bros. for making it, the motion-picture academy for awarding it, and the global marketplace for turning it into a billion-dollar smash.