Director: Guillermo del Toro

Starring: Bradley Cooper, Cate Blanchett, Rooney Mara, Tony Colette

Primary genre: Neo-noir

Secondary genre: Psychological

Third genre: Thriller

Nominated for: Best picture, production design, costume design, cinematography

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Guillermo del Toro’s adaptation of William Lindsay Graham’s novel “Nightmare Alley” is a surprisingly frustrating vehicle for the beloved fantasy auteur.

After the commercial and critical success of “The Shape of Water” (2017) and dipping his toes into several projects, it might be initially difficult to see what attracted del Toro to Graham’s book. There are no grotesque monstrosities or fantastical creatures to prey upon (usually terrible) humans neither imaginary realms filled with fairy like creatures, yet “Nightmare Alley” retains some of the eccentric filmmaker’s interests.

The world of a 40’s carnival seems the ideal playground for the sometimes macabre and bizarre, a setting for the social misfits and grifters of that era to gather around. Under an exquisite production and costume design aided by the outstanding cinematography of Dan Laustsen (“Silent Hill“ (2006), “John Wick Chapter 2“ (2017)) which captures the finest period details in gorgeous and atmospheric lighting (i.e., the snow scenes are incredible), del Toro sets interesting dynamics between the carnies almost in a misleading fashion.

Their exploration remains superficial paving the way for a totally disconnected second half that sees a 40’s femme fatale Cate Blanchett (brilliant) entering the on-screen events and initiating a cat-and-mouse game between herself and Cooper’s enigmatic stranger. Attempting to homage the famous noir pieces that dominated that Hollywood era with a brush of psychological thriller, del Toro sets up again key plot points that place front and center his main lead that do not go anywhere; an ill-conceived and last minute hinted attempt at domestic abuse adds nothing, Holt McCallany’s character hints at a future confrontation that never arrives and Cooper’s influence over a wealthy couple bears no impact to the main plot.

Yet all can be forgiven if the main character was someone that the audience could sympathize with. Cooper portrays a talented grifter with a murky past lacking though an obvious arc and memorable personality traits betrayed by a confused script that does not even give him a goal. When we reach the anemic finale that sees some (minor) stakes in place after two and a half hours with all the twists and turns, a “that’s it?” vibe starts echoing at the closing credits.

Cooper plays it straight but lacks the required sleazy charm to portray such a character (see Leonardo di Caprio in “The Wolf of Wall Street” (2013) for example), completely outclassed by the rest of the much more versatile cast members. Collette, Dafoe and Jenkins are particularly superb while Mara is perhaps the closest thing to a likeable person, even though she comes across as one note.

“Nightmare Alley” at the surface level, feels like an ultimate 40’s noir homage with a top notch visual and acting quality, an element that is now synonymous with del Toro’s name. However, by the time we reach the finale, even the most exquisitely conceived shot cannot save “Nightmare Alley” from boredom. The emotional core of the film is not enough to give the on-screen events heart and for the man who made Nomak (i.e., “Blade II“ (2002)) tragic or the heartless Captain Vidal (i.e., “Pan’s Labyrinth” (2006)) a three dimensional character, that says a lot. Maybe del Toro should stick to what he does best and leave the complexities of neo-noir psychological thrillers to someone else.

+Fantastic cinematography

+…and production design

+…and costume design

+Brilliant cast

+Interesting Noir homage

-Cooper is underwhelming

-Unlikeable main character

-Half-baked ideas

-Anemic finale

-Disconnected first and second half

-Pacing issues