|Rating: The Good – 85.7
Genre: Thriller, Satire
Duration: 117 mins
Director: Dan Gilroy
Stars: Jake Gyllenhaal, Rene Russo, Bill Paxton
Movies that tread new ground are a rare breed these days but Dan Gilroy’s grimy psychological thriller gets neck deep in a premise, plot, and movie perspective that’s unlike anything we’ve really seen before. Jake Gyllenhaal headlines as Louis Bloom, a degenerate dork looking for a vocation in which he can shine not to mention make a quick buck. Happening by a late night accident, he rapidly immerses himself in the world of sensational nighttime news and places himself at its forefront by videotaping crimes, accidents, and anything that bleeds and delivering them to Rene Russo’s desperate news director fresh off the blood-soaked pavement.
Nightcrawler introduces us to one unsavoury character after another but each are rooted in a desperate need that makes their wretched deeds all too relatable. Gilroy lures us through this looking glass of fast food media and successfully captures the upside down personal morality of all involved. Everything seems a little too incredible but at no point do we disengage. In fact, we want more, even as, no especially as, the credits begin to roll.
A skeletal Gyllenhaal is electric in a performance that reflects the movie’s creepy themes of the ‘real unreal’ on a singularly focused level. We begin by dismissing the likelihood that anyone could be so deranged only to recoil later on at the frightening sincerity in his bulging eyes and the sound of his voice as he recites his night-school rhetoric for business success. Gilroy was certainly taking a risk building the movie around the one truly irredeemable character but the entire film gravitates around Gyllenhaal’s magnetism and though we loathe him, we definitely enjoy doing so. Russo is wonderfully complicated as the TV exec who crawls onto his web, soliciting everything from the audience’s pity to their curiosity. The always great Bill Paxton pops up in a compelling cameo as a fellow nightcrawler who crosses paths with the manic Bloom and Riz Ahmed rounds off the cast with a sympathetic turn as the latter’s weary assistant.
Gilroy’s script is gleefully twisted in its originality while behind the camera he, cinematographer Robert Elswit, and indeed composer James Newton Howard give the nighttime streets of LA a character and personality of the kind we experienced in Michael Mann’s Heat. And whether they act as a still background to the patient madness of Bloom waiting for his scanner to announce his next shot or the frenetic blur of the subsequent high speed pursuit, they bring a critical balance of grit and gloss to the proceedings. It all adds up to a triumphant movie experience that should easily stand the test of time not only as a satirical social commentary but as a pulse thumping crime thriller to boot.