Stanton Carlisle (Bradley Cooper), a taciturn man haunted by his past, drifts through pre-World War II America. He encounters a traveling circus troupe and joins their ranks. Developing a rapport with mind reader Pete (David Strathairn) and his wife Zeena (Toni Collette), Stanton discovers an aptitude for performing his own mentalist act. His talent propels him to wealth and fame, but his encounter with psychologist Dr. Lilith Ritter (Cate Blanchett) precipitates a dramatic reversal of fortune.
Director Guillermo del Toro first caught my attention with Blade II, released almost two decades ago. The premiere of the first Hellboy film in 2004 solidified del Toro as one of my favorite directors. His films are consistently well-crafted and visually stunning. However, some of his works have proven less compelling in terms of narrative. While Pan’s Labyrinth, Pacific Rim, and the Hellboy films exemplify del Toro’s successes, recent projects like The Shape of Water and Nightmare Alley fall short of this mark.
Nightmare Alley undeniably bears del Toro’s visual signature, with its gothic, dark, and captivating aesthetic. Stanton’s introduction is masterfully executed, and each scene is rich with detail. The film’s primary weakness lies in its excessive length, feeling at least thirty minutes too long, and its narrative predictability. The protracted runtime induces restlessness, as the viewer anticipates the inevitable conclusion.
The performances are generally strong; Bradley Cooper explores previously unseen facets of his acting range, and the supporting cast delivers solid performances, albeit somewhat constrained by their roles. Willem Dafoe, for instance, is notably underutilized in Nightmare Alley.
The Blu-ray edition presents a consistently sharp and detailed picture. The dark sequences, illuminated by the circus lights, are particularly impressive. The sound quality is adequate, although it lacks the immersive surround effects characteristic of more action-oriented films. The bonus material is largely promotional, focusing on summarizing the film’s plot, which is disappointing, as a more in-depth exploration of the film’s production would have been preferable.
In conclusion, Nightmare Alley boasts impressive visual style but suffers from a predictable narrative. Based on the novel of the same name (previously adapted in 1947), the film’s central twist, while effective decades ago, is now readily apparent to modern audiences. The subsequent 150 minutes then lead to an anticipated resolution. This is a regrettable flaw in an otherwise visually striking film.
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