Grant Singer, known for his adept hand in crafting music videos for the likes of The Weeknd and Skrillex, steps into the world of thriller cinema with “Reptile”. While Benicio Del Toro delivers a performance that masterfully tiptoes between subtlety and depth, the film itself struggles to mirror this finesse, ultimately collapsing beneath the weight of its own intricacy. With clear nods to the precision of David Fincher, Singer’s debut demonstrates an exquisite attention to detail but missteps by complicating rather than tightening its narrative threads.

Within the affluent backdrop of Scarborough, real estate magnate Will Grady, portrayed by Justin Timberlake, and his agent girlfriend Summer (Matilda Lutz) navigate the turbulent waters of flipping foreclosed, high-end homes, all under the stringent gaze of Will’s mother, Camille (Frances Fisher). However, the seemingly straightforward drama takes a macabre turn when Summer is found gruesomely murdered, inviting Detective Tom Nichols (Del Toro) and partner Dan Cleary (Ato Essandoh) into a tangled web of suspects and motives.

In the aftermath of Summer's death, the film intricately lines up a series of suspects, each enveloped in their own quagmire of suspicious activities and motives. Timberlake’s Grady leans conspicuously into a persona dripping with privileged malevolence, posing a stark contrast to Summer’s ex-husband Sam (Karl Glusman), whose peculiarities extend to unconventional artistic pursuits. Moreover, Eli Phillips (Michael Pitt), a victim of Grady’s unscrupulous business practices, floats onto the radar, introducing a potential vengeance subplot.

The plot, co-penned by Singer, Benjamin Brewer, and Del Toro, introduces an expansive cast, each adorned with distinct, slightly off-beat traits in an attempt to pull characters away from archetypical molds. Amongst the panorama, Alicia Silverstone’s Judy, Tom’s wife, embarks on an intellectual journey alongside him, exploring the mysteries entwined within the plot. Each character, from Tom’s MS diagnosed superior, Captain Robert Allen (Eric Bogosian), to the parade of suspects, totes a unique trait intended to skew just slightly off the traditional, yet often slips into an exaggerated realm, reminding audiences of the film's artificiality.

While “Reptile” presents a cascade of stylistic choices, it fumbles in translating these into a coherent vision that supports the overarching narrative. Cinematographer Mike Gioulakis moves the lens through sprawling and daunting spaces, raising the question of purpose and significance in these visual choices. As the 134-minute runtime unwinds, the style, albeit abundant, begins to feel progressively empty as “Reptile” attempts to juggle numerous elements, leaving several subplots dangling and characters wavering in their consistency.

In spite of these criticisms, the film finds a beacon in Del Toro, whose portrayal of Nichols provides a nuanced exploration of a man entwined with trauma and expertise. His performance, occasionally infused with playful undertones, does not magnify the emotional baggage, but instead allows it to subtly permeate his expressions and bodily gestures. While there are commendable performances within the ensemble, including Silverstone, Bogosian, and Pitt, Del Toro seemingly exists within a distinct realm, deserving of a sturdier cinematic vessel to sail in.

In conclusion, while “Reptile” wrestles with its numerous subplots and expansive character designs, it inadvertently delivers a convoluted narrative that struggles to harness the potential of its central performance. The stylistic abundance, while visually striking, falters in constructing a solidified vision, leaving audiences adrift in a sea of unresolved stories and inconsistent characters. Del Toro’s captivating performance emerges as a silver lining, though one wishes it were housed within a more succinct and visionary film.