Rating: 15
Cast: Bradley Cooper, Rooney Mara, Willem Dafoe, Cate Blanchett, Toni Collette, Richard Jenkins, Ron Perlman and David Strathairn
Written by Guillermo Del Toro, William Lindsey Gresham (Adapted from the novel by) and Kim Morgan
Length: 150mins

After a Best Picture winner, a cult classic fairytale retelling, as well as a few action movies, Guillermo Del Toro has firmly established himself within Hollywood as a great storyteller. Each of his films delve completely into the setting and history of the environment they play out in, and ‘Nightmare Alley’ is no different. In the film, a young man establishes himself amongst all the intriguing going-on’s of a local travelling circus, becoming further and further embroiled in trouble of his own making. 

Bradley Cooper leads the film as a mysterious and unpredictable character. His simple introduction tells us everything we need to know, and nothing at all. For the first twenty or so minutes, his character of Stanton Carlisle seems content to sit back and let others run around him, barely saying a word. His apparent satisfaction from remaining quiet shows his intelligence, and understanding of how words can be manipulated – a key skill needed for his mystical future employment as a psychic. Cooper is excellent as the leading role, and, combined with his recent appearance in ‘Licorice Pizza’, is showing the world that he’s a brilliantly versatile actor who can deeply involve himself in any role he plays. You’re never quite sure what to make of him, and even in moments of sincerity, there’s an underlying feeling of manipulation that provides an intriguing extra layer to his performance.

Of course, with a cast to rival that of a Wes Anderson film (well, perhaps not quite that good), it would be a shame to not highlight some of the other performances on display. Toni Collette delivers as excellently as always as the charming and warm Madame Zeena, a supposedly mystic character who knows when her act has gone too far. However, the real stand out supporting character falls on the shoulders of David Strathairn, the alcoholic husband of Zeena. His early relationship with Stanton allows the story to consider the ethics behind the tricks conjured upon the circus stage, as well as what the young man should do with his ability to seemingly manipulate others using only a few words. Scenes between the two are completely engaging, as we watch their apprentice-teacher relationship experience its fair share of high and low points.

Aesthetically, ‘Nightmare Alley’ brings to life the magic of the circus. Not entirely sure what you’re seeing, but unable to turn away, the bright lights of travelling entertainment draws in crowds just as much as it does the audience, and by allowing us a look behind the curtain, Del Toro is able to deliver some really intriguing scenes. The film is very much composed of two parts. The first, showing the hidden secrets of a 1940’s circus, visually contrasts with the high society setting of the film’s later action, whilst establishing through characters and dialogue an idea that in neither location is everything as it seems. Vague references to political powers and key historical events not only establishes a clear setting, but considers the ideas of the film’s fictional story within a real, historical context.

With a runtime of two-and-a-half hours, I can’t deny that you do begin to feel the length towards the later half of the film. However, the detail that Del Toro applies to every scene consistently keeps your attention, and strengthens the moments which are already exciting or intriguing. Just like many of his other films, ‘Nightmare Alley’ feels as if it came straight from a storybook that a parent would never want their child to read. 

Rating: 15
Cast: Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie and Skyler Gisondo
Written and Directed by Paul Thomas Anderson
Length: 134mins

If Quentin Tarantino has set a precedent of highly established directors creating fun and stylised films about the period they grew up in with ‘Once Upon A Time in Hollywood’, then Paul Thomas Anderson has just released a great addition to the collection. Like George Lucas’s ‘American Graffiti’ and Richard Linklater’s ‘Dazed and Confused’ before them, everything’s cool in these films – it’s just teenagers running around, having a good time and getting into trouble. Set in 1970’s L.A, ‘Licorice Pizza’ follows fifteen-year-old Gary Valentine, a successful child star, as he grows up hoping the girl he’s in love with might be won over by his charm, whilst also somehow seeming to get involved in just about everything that was going on in the valley at the time.

Cooper Hoffman and Alana Haim are brilliant as the two lead characters. Despite it being the feature debut for the both of them, their chemistry onscreen is effortlessly engaging. Whether they’re arguing about pinball machines or making up over water beds, the constant highs and lows of their relationship is central to the story of ‘Licorice Pizza’, and captures everything that’s exciting about being young in a beautiful place like San Fernando.

Looking back through his filmography, it’s hard to argue that Paul Thomas Anderson is anything less than a modern master of filmmaking. His style is unique, but adapts with each new story he tells, whether that be the early twentieth century oil industry, or the trappings of dressmaking in Britain. ‘Licorice Pizza’, although arguably less direct in its storytelling, doesn’t disappoint. Scenes pass by effortlessly as a result of Anderson’s excellent direction, hailing back to the films which established his career like ‘Boogie Nights’ and ‘Magnolia’, where the camera moves with grace, whilst capturing everything around it. When the kids are excited about some new business venture or plan they’re about to lay into action, so is the camera, moving with a degree of its own energy that you can’t help but be drawn in by.

There are some absolutely brilliant moments within the film. Bradley Cooper lights up every scene he’s in, not only because of the blindingly white outfit he’s wearing, but also from the energy and intensity he dedicates to every small detail. Benny Safdie’s role as a candidate for the local mayoral position brings a great level of sincerity to the film, showing that not everything is bright and cheerful in the world of the characters. Although the narrative is fairly loose, jumping from one moment to another with little explanation, the choice to play the film out in this way works as a reflection of the energetic and impulsive way in which Valentine’s mind functions. Furthermore, it reinforces the idea that this is a nostalgic film for Anderson, reflecting on the times in which he grew up with a great amount of fondness, which, like a memory, is thought back on like a patchwork – some things are more vivid and others aren’t.

‘Licorice Pizza’ is exactly the kind of fun and relaxing film that could do really well at the cinema these days. It looks beautiful, the characters are engaging, and it transports you back to the feeling of excitement you had when you were a kid and the summer holidays were in full swing, even if that wasn’t in the 1970’s L.A. It’s not without its flaws, but as a fun trip out to the cinema, you can’t fault it.