Lou Bloom (Jake Gyllenhaal) is a nobody driven to steal chain-link fences, manhole covers and other spare parts for petty cash in L.A. when he discovers the underground world of crime journalism. With the aid of a TV-news show-runner (Rene Russo), Lou becomes entangled with the police and innocent bystanders as he slowly but surely crosses the line between observer and participant.





Nightcrawler is one of those movies that I just knew I was going to like from the very first frames: a slow montage of shots depicting L.A. in the depths of night, the pale moon standing sentinel in the sky as the city lights blaze and the haunting, melodical score kicks in. This initial treat was a combination of skill provided by cinematographer Robert Elswit (who has proven many times in the past that he can shoot the night brilliantly) and composer James Newton Howard, who has had very few memorable scores since his collaboration with Dark Knight composer Hans Zimmer came to an end but is finally given his time to shine. is one of those movies that I justI was going to like from the very first frames: a slow montage of shots depicting L.A. in the depths of night, the pale moon standing sentinel in the sky as the city lights blaze and the haunting, melodical score kicks in. This initial treat was a combination of skill provided by cinematographer Robert Elswit (who has proven many times in the past that he can shoot the night brilliantly) and composer James Newton Howard, who has had very few memorable scores since his collaboration withcomposer Hans Zimmer came to an end but is finally given his time to shine.









is the character, transforming into Lou Bloom, who is perhaps best described thusly: you take the geeky, apathetic mannerisms of Jesse Eisenberg in The Social Network, melded with the implacable eyes of Anthony Hopkins’ Hannibal Lecter and add an over-zealous helping of hair-grease. To begin with an appraisal of the framing and music might seem to suggest that perhaps what followed was not up to scratch, which could not be further from the truth: Gyllenhaal isn’t just playing a character, hethe character, transforming into Lou Bloom, who is perhaps best described thusly: you take the geeky, apathetic mannerisms of Jesse Eisenberg in, melded with the implacable eyes of Anthony Hopkins’Hannibal Lecter and add an over-zealous helping of hair-grease.





Four Lion’s Riz Ahmed also makes an appearance as the street-wise opportunist employed as Bloom’s navigator, and, while certainly capable, feels brought in purely to state the obvious to Bloom’s face, right up until a crucial moment in the plot which I can’t explain due to spoilers but which I’d love to talk about because it’s quite cleverly executed. Rene Russo is also on top form as domineering news-runner Nina, adding further fuel to the fire as Bloom feverishly participates in his own warped version of the American Dream.’s Riz Ahmed also makes an appearance as the street-wise opportunist employed as Bloom’s navigator, and, while certainly capable, feels brought in purely to state the obvious to Bloom’s face, right up until a crucial moment in the plot which I can’t explain due to spoilers but which I’d love to talk about because it’s quite cleverly executed.





Much like the news footage central to the premise, the film leaves very little to the imagination, and the graphic detail of the crimes helps sell the utter depravity of the lead character, willing to shoot anything for a quick buck. While some may see this as exploitative and hypocritical – and the film as a whole is one or two incidents too long – that refusal to look away is also central to one of the more tense set pieces. In a time when high-octane car chases, it’s wonderfully exciting to encounter a film which builds and builds before throwing the audience into the hot seat of a genuinely thrilling chase that resulted in sincere seat-gripping amongst the audience.





For first-time director (and acclaimed writer) Dan Gilroy, Nightcrawler is a considerable achievement, a no-holds-barred indictment of amateur video culture with a unique and mesmerising performance at the centre. This is Gyllenhaal’s finest hour since Donnie Darko, without a shadow of a doubt.





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