Nightmare Alley (2021) review

For F*** Magazine

Director: Guillermo del Toro
Cast : Bradley Cooper, Cate Blanchett, Toni Collette, Rooney Mara, Willem Dafoe, Richard Jenkins, Ron Perlman, Mary Steenburgen, Holt McCallany, David Strathairn
Genre: Mystery/Thriller
Run Time : 150 min
Opens : 13 January 2022 (Exclusive to Cathay Cineplexes)
Rating : M18

All of Guillermo del Toro’s feature films have included elements of horror or fantasy. One could be forgiven for thinking Nightmare Alley is the same, but it is not. This adaptation of William Lindsay Gresham’s novel of the same name, which was earlier adapted into a 1947 film starring Tyrone Power, is a neo-noir psychological thriller.

Stanton “Stan” Carlisle (Bradley Cooper) joins a travelling circus as a carny, doing odd jobs and studying how the various performers’ tricks work. Stan learns mentalism from Zeena Kurmbein (Toni Collette) and her husband Pete (David Strathairn), who perform a psychic act. In the meantime, he falls in love with Molly (Rooney Mara), whose act involves her pretending to be electrocuted. Stan is horrified at the way the carnival boss Clem (Willem Dafoe) treats the “geeks,” alcoholic, drug-addicted bums who bite the heads off chickens for paying spectators. Stan and Molly eventually leave the circus, establishing their own act. Psychologist Dr Lilith Ritter (Cate Blanchett) attempts to expose Stan’s act, and he gradually falls under her spell, anguishing Molly. As Lilith draws on Stan’s skillset to stage an elaborate and deadly con, one question arises: is Stan innocent, or a willing co-conspirator?

Del Toro is known for being an atmospheric filmmaker, and Nightmare Alley is brimming with atmosphere. Gorgeously shot and designed, it evokes the feeling of noir movies in an affectionate, layered way. Cinematographer Dan Laustsen plays deftly with light and shadow, as the movie takes viewers from the grimy carny world to the gleam of Chicago high society. While Nightmare Alley is a marked departure from the kind of movies del Toro is known for, many of his trademarks are still present, and is reminiscent of Crimson Peak in many respects. The allure of the movie is that while it takes place in the real world, it feels as if the tendrils of the supernatural are creeping along the edges. Nightmare Alley is moody and deliberately depressing in a way that is somewhat surprising given the warmth present in many of del Toros’ other movies, but also fits the source material.

For all its atmosphere, Nightmare Alley is often challenging to engage with emotionally. It’s two movies: the first one at the circus with the carnies, the second in Chicago high society with the femme fatale psychologist. The movie is 150 minutes long, and while the set-up at the circus is necessary, perhaps it doesn’t require over an hour. Indeed, Cate Blanchett, who is second billed, makes her first appearance over a third of the way into the movie. Stan is maybe the first protagonist of this type in del Toro’s filmography: someone who is charming, but whom we are meant to suspect. It’s a far cry from the loveable but misunderstood monsters who often appear in the director’s movies. Suffice it to say, this is no The Shape of Water. Granted, it’s not a bad thing that del Toro isn’t repeating himself, but Nightmare Alley is sometimes straight-up nasty by design, which can be off-putting. Del Toro is sometimes criticised for relying too heavily on references to existing films and other media, and in Nightmare Alley, he is operating in full-on noir mode. Audiences who recognise the style and are registering all the little flourishes might find themselves held at arm’s length from the story.

Del Toro is a filmmaker whom actors often enthusiastically say they want to work with, so it is no surprise that the cast is stacked. Bradley Cooper is alternately sympathetic and slimy, playing a con artist who will make audiences wonder how much of what he’s up to is strictly for survival. This is a role that Leonardo DiCaprio was initially attached to, which makes sense. It starts out restrained, before becoming flashier.

Rooney Mara turns in a quietly sad, endearing performance as an innocent drawn into Stan’s web, while Cate Blanchett plays a textbook femme fatale with a knowing wink. Everywhere else one looks, there are character actors of a high calibre, including many who have collaborated with del Toro before. Willem Dafoe as an unscrupulous carny boss and Richard Jenkins as the wealthy mark of a con are the highlights.

Summary: An atmospheric, dark tale, Nightmare Alley is largely bereft of the warmth which lurks beneath the surface of many Guillermo del Toro movies. Stepping outside his comfort zone of supernatural horror and sci-fi, Nightmare Alley is a stylistic exercise in the noir genre. Unfortunately, the overlong movie often feels inert up until the very end, despite the best efforts of a talented cast. This is an intriguing but frustrating effort from the auteur, indicating interesting things to come, but straying from what has worked in his earlier films.

RATING: 3 out of 5 Stars

Jedd Jong

West Side Story (2021) review

For F*** Magazine

Director: Steven Spielberg
Cast : Ansel Elgort, Rachel Zegler, Ariana DeBose, Mike Faist, David Alvarez, Rita Moreno, Brian d’Arcy James, Corey Stoll
Genre: Musical/Drama
Run Time : 131 min
Opens : 6 January 2022
Rating : PG13

One of the most influential American musicals of the 50s, that was adapted into one of the most influential American movies of the 60s, now gets a new adaptation from one of the most influential Hollywood directors of the last 50 years. West Side Story, originally developed by Jerome Robbins with music by Leonard Bernstein, lyrics by Stephen Sondheim and libretto by Arthur Laurents, is back on the big screen under the helm of Steven Spielberg.

It is 1957 in Manhattan’s West Side. A turf war is raging between the white gang the Jets and the Puerto Rican gang the Sharks, both vying for control of San Juan Hill. Riff (Mike Faist), the leader of the Jets, and Bernardo (David Alvarez), the leader of the Sharks, are planning a big face-off between the two gangs. Riff promises that Tony (Ansel Elgort), the co-founder of the Jets who was recently released from prison, will be there. At a dance, Tony and María (Rachel Zegler) catch each other’s eye. María is Bernardo’s sister, and lives with Bernardo and his girlfriend Anita (Ariana DeBose). A potential romance between Tony and Maria will send the already-high tensions soaring. The stage is set for a tale of crime, community and forbidden love.

When it was announced that Spielberg would be directing a new adaptation of West Side Story, the common response was “why?” The answer is “because he’s Steven Spielberg and can do whatever he wants.” Beyond that, this adaptation justifies its existence, building upon the stage show and the earlier movie with an obvious affection for the source material, but also a sincere desire to dig deeper. Playwright Tony Kushner, who collaborated with Spielberg on Munich and Lincoln, set out to contextualise the setting of the story.

The themes of gentrification, the prejudice faced by immigrant communities and the underlying factors that lead to violent crime were all inherent in the source material, but one could argue they weren’t handled with much nuance. This West Side Story is a triumph of style and substance, a handsomely filmed and designed movie showcasing some of regular Spielberg cinematographer Janusz Kaminski’s finest work. It looks and sounds incredible, with the story rendered urgent and compelling. West Side Story is a cultural touchstone, often referenced and parodied, so the danger of approaching it afresh is that there’s going to be baggage. Spielberg and Kushner deftly navigate this, presenting something that feels at once fresh and classic.

West Side Story has often been criticised by Puerto Rican people for its stereotypical portrayal of Puerto Rican characters. The original creative team was, after all, entirely comprised of people who did not have the first-hand experience that would have made the story more authentic. There are pains taken here to paint in strokes that aren’t quite so broad, with Puerto Rican writer, director and choreographer (and protégé of Jerome Robbins) Julio Monge on board as a consultant. However, there still are Puerto Rican people who feel West Side Story is beyond salvaging, and this reviewer has no place to argue with their interpretation. For all its strengths, the movie also highlights the need for people from varied backgrounds to tell their own stories on platforms they have historically had limited access to.

There isn’t really any stunt casting going on here, which is one of the pitfalls of movie musicals. The star is Spielberg. Most of the key roles are filled by actors with considerable musical theatre experience. Former Newsie Mike Faist and former Billy Elliot David Alvarez, both strong dancers, are wonderful foils for each other. Ariana DeBose is a powerhouse and commands the screen.

Rachel Zegler is a revelation, radiant, endearing and possessing incredible vocal control. This is a rare, miraculous instant movie star-type performance. She already has roles in Shazam: Fury of the Gods and Disney’s Snow White remake lined up.

Unfortunately, the one big misstep here is the casting of Ansel Elgort. He is not a bad singer, having obviously put effort into trying to keep up with his much more musically experienced co-stars, but once he’s in a duet with Zegler, it’s all over. She runs rings around him, and this is on top of how Tony was always kinda boring to begin with.

Rita Moreno is one of the highlights of the film. The actress portrayed Anita in the 1961 film, and here, plays Valentina, a modified version of the Doc character who looks out for Tony. She sings “Somewhere” in one of the film’s most powerful moments.

One would think that getting the music right would be a priority for any movie musical, and yet, movies like 2012’s Les Misérables and 2019’s Cats have shown how things can go horribly awry. West Side Story is serious about its music – after all, the songs by Bernstein and Sondheim, including standards like “Tonight” and “Maria,” are evergreen and beloved. The musical arrangement by David Newman is both majestic and nimble, with composer/arranger Jeanine Tesori working with the actors on their vocals. The score is recorded by the New York Philharmonic with additional material by the L.A. Philharmonic, conducted by Gustavo Dudamel. The sound editing and mixing shows the music off in all its glory, with the performers delivering some of the best-sounding singing in a movie musical in recent memory.

Summary: A purely cinematic experience, this new adaptation of West Side Story is as classic as it is dynamic. Featuring performances from musical theatre performers including Mike Faist, David Alvarez and Ariana DeBose and featuring a revelatory performance from young star Rachel Zegler, these are actors who are at home with the material and who more than do it justice. Rita Moreno provides an important link to the past, delivering a genuinely emotional supporting performance. West Side Story looks and sounds amazing, boasting enough thematic richness to justify its existence.   

RATING: 4.5 out of 5 Stars

Jedd Jong