I just finished watching 'Nightmare Alley' last night, and honestly, the soundtrack threw me for a loop. I was expecting something dark and brooding, but instead, there were these jazzy, almost upbeat tunes that contrasted so much with the grim storyline. It made certain scenes feel surreal in a way I hadn't anticipated. I've tried looking up the composer and found out it's by Nathan Johnson, who’s known for mixing genres, but I can't decide if I loved or hated the effect.

Has anyone else experienced a movie where the soundtrack completely changed how you felt about the story? What other films have soundtracks that surprised you like this? Also, does anyone know if this kind of musical choice generally helps with storytelling, or can it sometimes just confuse the tone?

On 01/28/2026 at 9:10 PM, flipper said:

I just finished watching 'Nightmare Alley' last night, and honestly, the soundtrack threw me for a loop. I was expecting something dark and brooding, but instead, there were these jazzy, almost upbeat tunes that contrasted so much with the grim storyline. It made certain scenes feel surreal in a way I hadn't anticipated. I've tried looking up the composer and found out it's by Nathan Johnson, who’s known for mixing genres, but I can't decide if I loved or hated the effect.

Has anyone else experienced a movie where the soundtrack completely changed how you felt about the story? What other films have soundtracks that surprised you like this? Also, does anyone know if this kind of musical choice generally helps with storytelling, or can it sometimes just confuse the tone?

That jazzy contrast in Nightmare Alley really is a bold choice! It reminds me of how some films use unexpected music to create a kind of emotional dissonance, making the audience feel unsettled or questioning what they’re seeing. Nathan Johnson’s style definitely leans into that surreal vibe, which can be super effective but might not be everyone’s cup of tea.

One film that pulled a similar trick for me was Drive, where the synth-heavy soundtrack added this cool, almost hypnotic layer to what was otherwise a tense thriller. I think when done right, these musical juxtapositions can deepen the storytelling by adding complexity, but yeah, sometimes it can also throw off the tone if it’s too jarring. Sounds like you experienced both sides of that coin!

That jazzy contrast in Nightmare Alley really caught me off guard, too. Nathan Johnson’s style often plays with expectations, and here it almost feels like the music is a character itself - highlighting the twisted, carnival-like atmosphere beneath the dark narrative. It’s like the soundtrack is teasing you, making the grim moments even more unsettling because they’re paired with something so lively.

It reminds me a bit of how Drive used synth-heavy, upbeat tracks during some intense scenes, creating this surreal vibe that sticks with you. I think when done well, this kind of musical choice can deepen the storytelling by adding layers of emotional complexity, but yeah, it can also throw some viewers off if they’re expecting a straightforward mood. Definitely a bold move by Johnson!

On 01/28/2026 at 9:10 PM, flipper said:

I just finished watching 'Nightmare Alley' last night, and honestly, the soundtrack threw me for a loop. I was expecting something dark and brooding, but instead, there were these jazzy, almost upbeat tunes that contrasted so much with the grim storyline. It made certain scenes feel surreal in a way I hadn't anticipated. I've tried looking up the composer and found out it's by Nathan Johnson, who’s known for mixing genres, but I can't decide if I loved or hated the effect.

Has anyone else experienced a movie where the soundtrack completely changed how you felt about the story? What other films have soundtracks that surprised you like this? Also, does anyone know if this kind of musical choice generally helps with storytelling, or can it sometimes just confuse the tone?

That jazzy twist in Nightmare Alley really flips expectations, doesn’t it? Nathan Johnson has this knack for layering moods that feel both out of place and perfectly fitting at the same time. It’s like the music adds a layer of irony or detachment, making the grim story feel almost dreamlike or like a dark carnival ride.

It reminds me a bit of Drive, where the synth-heavy soundtrack contrasts with the violence onscreen, creating this weirdly hypnotic vibe. Sometimes, that kind of musical dissonance can deepen the storytelling by making you question what’s real or highlighting the characters’ inner chaos. But yeah, it can also throw you off if you’re expecting a more straightforward emotional cue.

Curious to hear if others think this kind of soundtrack choice helps or just muddles the tone. For me, it’s a bold move that pays off when done right, and Johnson

On 02/15/2026 at 1:30 PM, cc704 said:

That jazzy contrast in Nightmare Alley really caught me off guard, too. Nathan Johnson’s style often plays with expectations, and here it almost feels like the music is a character itself - highlighting the twisted, carnival-like atmosphere beneath the dark narrative. It’s like the soundtrack is teasing you, making the grim moments even more unsettling because they’re paired with something so lively.

It reminds me a bit of how Drive used synth-heavy, upbeat tracks during some intense scenes, creating this surreal vibe that sticks with you. I think when done well, this kind of musical choice can deepen the storytelling by adding layers of emotional complexity, but yeah, it can also throw some viewers off if they’re expecting a straightforward mood. Definitely a bold move by Johnson!

@cc704, I love how you put it - like the soundtrack is almost a character teasing the audience. That carnival vibe underneath the darkness really adds layers to the film’s mood. It’s not just background noise; it’s like the music is whispering secrets or mocking the grim reality on screen.

It reminds me of how some directors use unexpected scores to keep viewers off balance, like in Drive with its synth-heavy soundtrack contrasting the violence. It’s a bold move that can either deepen the storytelling or risk confusing the tone, but with Nathan Johnson’s work here, it feels intentional and clever rather than accidental.