Staci Layne Wilson’s Nightmare Alley review notes the visuals are a dream, but the tale bursts at the seams and falls apart.

Bradley Cooper stars as Stan Carlisle in Guillermo del Toro’s Nightmare Alley— he’s a shady, charming grifter with no qualms when it comes to manipulating marks as well as loved ones. Carlisle wasn’t born to the midway, though—he wandered in, seeking a place to hide in proverbial plain sight following a horrific event that’s got him on the lam from the law. Brazen and bold, he quickly climbs the carny ladder, making it from odd-jobber to headlining mentalist in no time.

Needless to say, his status and wealth are ill-gotten gains, which have been obtained thanks to the theft of a coveted cheat sheet stolen from his colleagues, psychic Zeena (Toni Collette), and her alcoholic husband, Pete (David Strathairn). The first act of Nightmare Alley glows and glitters as it showcases its killer cast—which also includes Rooney Mara as Molly, Stan’s naïve love interest; Ron Pearlman as strongman Bruno; and Willem Dafoe as proprietor Clem, who, in addition to the higher-brow acts, exhibits a pathetic geek, a downtrodden drunk who bites the heads off of live chickens, for booze and a place to pass out (a filthy, straw-strewn cage).

Richard Jenkins, Mary Steenburgen, Tim Blake Nelson, and Holt McCallany come along later in smaller but equally impressive turns. And then there’s the incomparable Cate Blanchett as Dr. Lilith Ritter, an analyst who uses her own “mind-reading” skills to her advantage in another kind of private circus.

If you’re anything like me, you’ll thrill to the carnival atmosphere and the art deco of the period—Nightmare Alley is, in terms of its trappings, reminiscent of American Horror Story: Freak Show, HBO’s Carnivale, and European circus films like Wings of Desire.

It’s a fantastical universe, and if you are at all familiar with the filmmaker, then you know this is where he excels—the world-building is a true marvel here, so much so you can practically smell the cotton candy and feel the electricity crackling in the air.

Cinematography is courtesy of master DP Dan Lausten (a del Toro go-to, who also shot The Brotherhood of the Wolf, The League of Extraordinary Gentlemen, and is set for The Color Purple remake). In addition, the set design, costumes, and makeup make Nightmare Alley worth the price of admission.

The cast is top-notch, but surprisingly, they lack chemistry—especially with the lead. Maybe it’s Carlisle, or the way Cooper chose to portray him, but not one of his trio of romantic relationships is wholly believable. This is in complete contrast to Edmund Goulding’s 1947 original Nightmare Alley adaptation (it was a novel first), starring Tyrone Power. (Power still owns that role, and if you haven’t seen that film, I highly recommend it.)

It should be noted that del Toro’s version (co-written with Kim Morgan) is a full 30 minutes longer than the first film and that, I believe, is its downfall—the third act feels off-the-rails, sloppy, delirious, and nearly negates what’s come before it. It’s unfortunate because I really wanted to love Nightmare Alley—I liked it, but am not sure whether I’ll watch it again.

Like the carnies and hucksters depicted in Nightmare Alley, the masterful del Toro lures us in with razzle-dazzle but leaves us wanting. I hasten to add that del Toro is one of my favorite filmmakers and is admirably adroit in interpreting classic cinema, art, and history. While he should have been the ideal ringmaster to bring Nightmare Alley to a new audience, this remake falls short, leaving the 1947 original to its classic, timeless, standalone status. Still, if you like this sort of thing, you’ll want to strap in for the Nightmare Alley ride.

Rated PG-13
2 Hours 20 Minutes

Does this Nightmare Alley review make you want to step right up and see it? Check showtimes at Fandango.com.

Staci Layne Wilson’s Nightmare Alley review notes the visuals are a dream, but the tale bursts at the seams and falls apart.