REVIEW: NIGHTMARE ALLEY

3.5/5

The Power Of The Dog.

150 Mins. Starring: Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen, Clifton Collins Jr., Holt McCallany & David Strathairn. Director: Guillermo del Toro. 

A nightmare on noir street. Guillermo del Toro's latest movie. A remake of the 1947 movie 'Nightmare Alley', adapted from William Lindsay Gresham's novel of the the same name a year prior was nominated for a Best Picture Academy Award last week, despite box office and popular critical consensus. But no one is going to remember that from this year's Oscars. We've had enough of talking about what they won't forget. Know this though, despite what people say, the great Guillermo's new movie is not the 'Nightmare' that some people are calling it. The shape of this is that it is just taking on too much water. With an all star cast as bloated as the runtime which in this pandemic plant panicked cinema crowd is going to take a lot to get bums in seats. How about Hollywood heartthrob Bradley Cooper? Coming out of the shadows of some old fashioned showbiz scandal out of Hollywood that glossed over the fact that this 'A Star Is Born' showcased his triple-threat talents of acting, directing and making music as an accomplished singer and axeman. But still even his multi-faceted talents are going to have a hard time having you stay with him as a sleazy character whose snake oil isn't charming anyone...or at least the best part of everyone. Especially as the actor has unfairly garnered that reputation in real life. That's what you get when you're so good at your profession playing them, but how is that just? Even without Ally in 'Alley', it's still a dream to hang with Mr. Cooper, even if that tarot card is going to turn him all the way upside down. 

Roll up, roll up to the latest out the labyrinth of del Toro's mind before he shows us real Pan in this falls 'Pinocchio' stop-motion for a boy who just wanted to be forever young and as human as Peter. Peaked with crimson and with a 'Hellboy' to boot, this is rich and cinematic. Carnival lights shining through all this decadent and dark noir. It looks the period piece part and it certainly runs in a cinematic circus of parlour tricks, but sadly we live in an age were people are more concerned about the bright lights of their phones than the tricks of the trade of classic cinema and Americana. But don't call shenanigans, this throwback is still a testament to what folks came out to see and called entertainment. Even if the sly nature of it will have you looking at it side-eyed with deep mistrust. It's not just today were we are packed to the big top with cynicism. But perhaps this film really does belong in a different time like its setting. Back then it would have made a killing. Today at least we and the Academy can recognise it for what it is. A rich reason why the Best Picture race this year was choked full of classics that it was hard to watch them all like last years several streaming site entries with cinemas closed due to corona. And that's before we even get into the passed over snubs like the 'Passing' fancy of truly old cinematic feel. Albeit forlorn with a message that still isn't paid attention to today. Whether 'Nightmare Alley' is a cautionary tale or is just to dark for the light of the day is up to you. But like 'Water For Elephants' this shares strands with Hugh Jackman's 'Greatest Showman'. He was just too charming to play the crooked P. T. Barnum that we missed the point. Making money off the back of others whose confidence you have sold down the river, makes you far from the greatest. And it all comes back around in this hoopla. Leave it up to a last shot cameo to knock that notion back before the bittersweet irony and aftertaste of the last laugh. That's just the show man. 

Cooper compels, but without a class cast behind him to work off he would be sinkin' soon. No matter how sneaky his carny character. Matched wit for deception and deception for wit with Cate Blanchett's perfect psychologist and all the manners of her mind. This megastar in all her superpowered wattage belongs in this era from the classic Hollywood looks of the ruling Australia, to the Marylin hair of the bombshell age. But the brain trust of this accomplished actress shines like 'Blue Jasmine'. This is the same star that literally destroys Thor's Asgard like 'Ragnarok' in her downtime just for kicks. But for the price of salt it's her reunion with 'Carol' co-star Rooney Mara that's worth the admittance fee, even if fleeting. They still look part of the same time. And Mara the standout in the haunting 'A Ghost Story' is the soulful spirit of this picture, despite being further down on the cast list than she deserves. There's just too many performers in this spectacle. Like the first act owned by the great Toni Colette that 'Hereditary' runs in the family of the travelling circus. Like the no need for brass, meat grinding knuckles of strong man 'Hellboy' Ron Perlman (a certain someone would never have run up on him), or an underused but undeniable Clifton Collins Jr. Character acting (which is severely undervalued in this bright lights industry) at its finest and the 'Goodnight and Good Luck' of opening act show stealer David Strathairn as the sauce of this subplot. We still can't get over his heartbreakingly beautiful LCD Soundsystem, 'Black Mirror' like music video with Sissy Spacek. Oh baby! Not to mention the Goblin of 'The Lighthouse' icon Willem Dafoe gobbling up the melodramatic scenery beautifully, delivering exposition like he does his "roll up, roll up" carnival promotion to the wallpaper pasted poster. But in part two of this movie it's the great Richard Jenkins, flanked by the meaty 'Mindhunter' tough love of right hand man Holy McCallany that make this movie so much more, literally raising the stakes for all the chips. And let's not forget Jenkins' 'Step Brothers' love of Mary Steenburgen. In a brief, but a brutally beautiful cameo of sorts. Pivotal to the plot that ticks and rocks, tipping the scales like Ethan Hawke's cane in 'Moon Knight' like day and night. Now how's that for calling role to this main attraction? Sure, the box office may have failed to garner a crowd, but we all know that doesn't make or break the true meaning of why a movie matters. Perhaps like 'Parasite' the black and white version a 'Vision Of Darkness and Light' would shed some on the bigger picture of this best one. Feast your eyes on what needs to be seen to be believed and see it for yourself, folks. TIM DAVID HARVEY. 

Further Filming: 'The Shape Of Water', 'Water For Elephants', 'The Greatest Showman'.