Nightcrawler is a small indie film that made head-away with the critics and even managed for be Number 1 at the American box-office for one weekend in October. According to the data collected so far by boxofficemojo.com, the film made over forth time its budget already. It also made quite a splash to the Indie Spirit Awards, gaining five nominations. It's not all for naught, as the film is a well-made, updated '70s style media drama with terse, dark thriller undertones. It simultaneously reminded me of Network, American Psycho and maybe even Sydney Pollack's Absence of Malice. Despite all these influences, Nightcrawler is very much its own movie, sleek and well-written, though wobbling slightly in its third act, that is nonetheless saved by an unexpected ending with a strong noir vibe.
The film delves bravely into one of the seediest sides of the news: crime reporting and the people behind all those gruesome early morning or late night footage that we all pretend we never watch. It analyzes the human fascination for the macabre, as it looks into what it makes to film and broadcast what it is essentially the television version of road kill. Not being familiar enough with the insides of the domain myself, I cannot say how factually accurate this depiction is and I dare state it doesn't matter. The film makes no documentary claims, opting for a archetypal portrayal of the morbid voyeurism of media consumers and the ways, in which that can be exploited and birth monsters. It does so without pretensions or judgement, merely depicting a likely scenario and allowing the audience to draw their own conclusions.
The depths hidden beneath Nightcrawler's murky surface notwithstanding, the film makes for good entertainment, too, boosting carefully built suspense that often erupts from seemingly innocuous conversations. The tension is aided by the overall unsettling atmosphere. The film takes place mostly at night and the darkness is only vaguely lit, the gaudy glow of sirens being the one that strives to keep the shadows at bay. As the plot progresses and the uncertainty grows, it becomes unclear whether that is possible at all.
Of the film's many strengths is the nuanced and just on the edge of creepy performance of Jake Gyllenhaal, who does a great job of sinking the viewer into the disturbing inner workings of his character while at the saying not revealing much at all about him. He is the protagonist one can't help rooting for, while at the same time being terrified of him and feeling guilty for both of these reactions. This uncomfortable main character, you both wish punished and triumphant, reflects the guilty feeling of looking at graphic crime and accidents scenes on the TV or online, while knowing that it's wrong and invasive, yet unable to curb the ghoulish fascination. Louis Bloom embodies that dark impulse and Gyllenhaal's wide-eyed, starved stare is the look of both sympathy and condemnation.
The supporting performances are strong as well, Rene Russo distinguishing herself in a meaty role that is to some extent a darker version of the one Faye Dunaway played in Network. Still, Russo imitates nobody and makes the performance her own, imbuing her character with an ever-shifting mix of callousness and vulnerability. Her character is the one we want to like and maybe hope to cling to for moral redemption, but Nina Romina eviscerates that yearning with a single, perfectly-delivered cold line and proves to be anything but someone to be pitied. She might be on the flipside of Gyllenhaal's character, but that side is not necessarily a less dark one.
Director Dan Gilroy cleverly alternates between an impeccable use of digital and 35 film, to render the difference between reality and the intermediate world depicted on TV news. This oscillation between formats is not only fully justified here, but it also constitutes an expert exploration of the creative possibilities of both formats. It contributes to the story and enriches the intricate and often claustrophobic feel of the film. Technically, it is masterfully put into practice by cinematographer Robert Elswit, a long-term Paul Thomas Anderson collaborator.
My assessment: good (with a lot of edge).
Film details according to imdb.com:
Directed and written by: Dan Gilroy
Cinematography by: Robert Elswit
Shot with Arri Alexa XT, Panavision Primo, Super Speed MKII, Ultra Speed MKII and Angenieux Optimo Lenses Panavision Panaflex Millennium XL2, Panavision Primo, Super Speed MKII, Ultra Speed MKII and Angenieux Optimo Lenses
The film delves bravely into one of the seediest sides of the news: crime reporting and the people behind all those gruesome early morning or late night footage that we all pretend we never watch. It analyzes the human fascination for the macabre, as it looks into what it makes to film and broadcast what it is essentially the television version of road kill. Not being familiar enough with the insides of the domain myself, I cannot say how factually accurate this depiction is and I dare state it doesn't matter. The film makes no documentary claims, opting for a archetypal portrayal of the morbid voyeurism of media consumers and the ways, in which that can be exploited and birth monsters. It does so without pretensions or judgement, merely depicting a likely scenario and allowing the audience to draw their own conclusions.
The depths hidden beneath Nightcrawler's murky surface notwithstanding, the film makes for good entertainment, too, boosting carefully built suspense that often erupts from seemingly innocuous conversations. The tension is aided by the overall unsettling atmosphere. The film takes place mostly at night and the darkness is only vaguely lit, the gaudy glow of sirens being the one that strives to keep the shadows at bay. As the plot progresses and the uncertainty grows, it becomes unclear whether that is possible at all.
Of the film's many strengths is the nuanced and just on the edge of creepy performance of Jake Gyllenhaal, who does a great job of sinking the viewer into the disturbing inner workings of his character while at the saying not revealing much at all about him. He is the protagonist one can't help rooting for, while at the same time being terrified of him and feeling guilty for both of these reactions. This uncomfortable main character, you both wish punished and triumphant, reflects the guilty feeling of looking at graphic crime and accidents scenes on the TV or online, while knowing that it's wrong and invasive, yet unable to curb the ghoulish fascination. Louis Bloom embodies that dark impulse and Gyllenhaal's wide-eyed, starved stare is the look of both sympathy and condemnation.
The supporting performances are strong as well, Rene Russo distinguishing herself in a meaty role that is to some extent a darker version of the one Faye Dunaway played in Network. Still, Russo imitates nobody and makes the performance her own, imbuing her character with an ever-shifting mix of callousness and vulnerability. Her character is the one we want to like and maybe hope to cling to for moral redemption, but Nina Romina eviscerates that yearning with a single, perfectly-delivered cold line and proves to be anything but someone to be pitied. She might be on the flipside of Gyllenhaal's character, but that side is not necessarily a less dark one.
Director Dan Gilroy cleverly alternates between an impeccable use of digital and 35 film, to render the difference between reality and the intermediate world depicted on TV news. This oscillation between formats is not only fully justified here, but it also constitutes an expert exploration of the creative possibilities of both formats. It contributes to the story and enriches the intricate and often claustrophobic feel of the film. Technically, it is masterfully put into practice by cinematographer Robert Elswit, a long-term Paul Thomas Anderson collaborator.
My assessment: good (with a lot of edge).
Film details according to imdb.com:
Directed and written by: Dan Gilroy
Cinematography by: Robert Elswit
Shot with Arri Alexa XT, Panavision Primo, Super Speed MKII, Ultra Speed MKII and Angenieux Optimo Lenses Panavision Panaflex Millennium XL2, Panavision Primo, Super Speed MKII, Ultra Speed MKII and Angenieux Optimo Lenses