O Beco do Pesadelo

Over the past thirty years, Guillermo del Toro has directed some of the most haunting movies: "Cronos", "Mimic", "The Devil's Backbone", "Pan's Labyrinth" and "The Shape of Water". He now adds "Nightmare Alley", a disturbing look at a man's overconfidence.

Bradley Cooper plays a man who joins a traveling carnival but begins letting his belief in his own abilities get the better of him, especially after he starts associating with a morally ambiguous psychologist. Cate Blanchett's performance as the psychologist is what makes the movie, in my opinion. That and the production design create one of the most mind-blowing things that you'll ever see; it certainly earned its Academy Award nomination for production design.

I don't know if I would call this the year's best movie, but it's one of the most impressive. Along with Cooper and Blanchett, Rooney Mara, Toni Collette, Willem Dafoe, David Strathairn, Mary Steenburgen, Ron Perlman, Richard Jenkins and a host of other people put on splendid performances. You should definitely check this movie out.

They should've stuck with the leaner, smarter ending in the novel, because boy was I sick of Bradley Cooper's overacting by then. Ironically, he's playing a character who's repeatedly told not to buy into his own hype, when he needs that lesson more than Stanton Carlisle ever did.

Everyone else is competent at least. I thought at first that Rooney Mara was miscast, but she's playing a very different Molly Cahill from the novel, and does so effectively. Most of the cast are too old for their roles, but I can overlook that. It necessarily deviates from the novel for length, complexity and the practicalities of filmmaking, but also some arbitrary changes that are never improvements.

What's missing is the grandeur and spectacle that keep even del Toro's lesser films from being dull. There are good performances, good visuals, but nothing achieves greatness.

Like all of Del Toro's films, Nightmare Alley is a visual feast. The production design and cinematography transported me into his grim and glossy dystopian vision.

Also, the acting is some of the best I've seen in one of Del Toro's movies. Bradley Cooper gives perhaps his finest performance, and he sells every unsettling moment of this horrifying cautionary tale as his character is consumed by the consequences of his pride.

The best moments in this story really are some of the best scenes of the year, and they will stick with me for some time to come.

The film's biggest weakness is it's obviously bloated runtime. The second act really meanders and focuses on romantic subplots without giving us reasons to believe that the characters fall in love. A great deal of material should have been either explored more or cut altogether. As it stands, the center of this story is woefully half-baked.

Still, the production design and performances alone make this worth checking out. It really is something to behold.

Edmund Goulding's 1947 film "Nightmare Alley" is one of my all-time favourite noirs and it's the film in which Tyrone Power certainly gave his finest performance. Of course, not having read William Lindsay Gresham's original novel I can't say how faithfully it stuck to its source material any more than I can say that this Guillermo del Toro remake, clocking in at 40 minutes longer than the first film, is a faithful adaptation. I did expect del Toro's version to be more 'explicit' than Goulding's but would it capture the seedy vibe of the deliciously unpleasant 1947 classic or would this simply look like a 21st century over-art-directed period piece?

The good news is, that in typical del Toro fashion, it looks great and the period detail is perfectly captured without seeming overdone and it's also brilliantly cast. Bradley Cooper is a lot less appealing than Power as the carny with a dubious past and an uncertain future, which is just as it should be, while as the three women who impact on his life, Toni Collette, Rooney Mara and especially Cate Blanchett are all excellent and there's first-rate work from Willem Dafoe, Richard Jenkins and, walking off with the picture, David Strathairn.

The bad news is del Toro certainly drags it out. This is definitely a movie that could do with some trimming and worse, apparently there's an even longer director's cut out there somewhere. It's a good yarn and it's well told and as remakes go, it's a cut above but it won't supplant Goulding's classic in my affections nor does it approach "The Shape of Water" in del Toro's canon.

From the filmmaker who's always looked for beauty in the grotesque and whose fascination with horror, fantasy, fairy tales & monsters knows no bounds, Nightmare Alley marks quite a departure from his earlier works. While the story features a dark premise and the imagery is infused with gothic flavours, it plays out like a straightforward neo-noir psychological thriller and is devoid of the supernatural.

Co-written & directed by Guillermo del Toro (Pacific Rim & The Shape of Water), the first act does create an intrigue & mystery about our protagonist and what he may be up to but once the story departs from the carnival setting, the interest does start to fizzle out as it becomes evident where it's headed & how it's going to play out. It isn't necessarily a complaint but for a director of del Toro's calibre, more was expected here.

On the technical front, the film scores high marks with its sumptuous production design that brings its period setting to life in splendid detail. Deft camerawork & amber lighting also add to its noirish tone and the decadent score enriches it some more. Performances are where it delivers the most valuable goods. Bradley Cooper is committed throughout, plus his act only gets better as plot progresses and he is strongly supported by the rest.

Overall, Nightmare Alley is a perfectly fine example of its genre and will keep most viewers invested in its proceedings with its rich production value & impressive acting. However, the characters still remain distant for some reason and the story as a whole feels more or less underwhelming in the end. To sum it up, Guillermo del Toro's latest offering isn't without its charms and has a few neat tricks up its sleeve but nothing about it is original or refreshing.