Nightcrawler (2014) – The City Shines Brightest at Night

Donnie Darko“, “Brokeback Mountain“, and “Zodiac”. Jake Gyllenhaal is a marvelous actor. Before this movie, he cast as a debilitated broken character in Denis Villeneuve’s “Prisoners” and “Enemy“. In contrast, Dan Gilroy changed the presence of Gyllenhaal as one of the insane characters. It’s about Jake Gyllenhaal as Lou Bloom, an independent cameraman. He enjoys recording criminal events in the nightlife of Los Angeles. He sold the footages to a TV station. Having a profession as a thief, on his way home, Lou met another nightcrawler played by Bill Paxton. He got footage of a car crash incident. The following step, he sells the video with a high offer.

As unemployed, Lou considered this as a chance. At first, he just had funds from a bike he just stole. From the plunder, he sold and got a camcorder and a police scanner. Hence, aspiration and devotion brought Lou effectively to the world of nightcrawler. Rene Russo as Nina Romina, a TV producer and primary purchaser of Lou’s video, is happy to do anything. She will do everything to get a rating. Experiencing tough difficulties and simultaneously, Lou and Nina attempt to do heedless things. Rather makes it outwardly engaging, he pleased to race with the police.

The story is reminiscent between “Taxi Driver” and “Network” with a tad subtlety 80s of “Drive”. The director, Dan Gilroy, investigated the extent of media can do rash things. Now and again likewise, they violate the law and are compassionate to accomplish a craving. On the other hand, Riz Ahmed as Rick Carey additionally helped Lou as his assistant. The presence of Riz Ahmed as a supporting character is the most ordinary character between most characters. Above all, he thought about Lou’s activities had passed the standard. In any case, he never denied Lou on the grounds. He has his realities and unresponsiveness. More or less, money talks.

“Nightcrawler” brings the spine chiller and criminal sorts as the fundamental core interest. It’s a thick quality of horror. This film is a satire since it hoists the life around us, particularly TV is the center of the story. We never know why what’s the movement of a cameraman in each news we have watched. We don’t have the foggiest idea why but they just do their work as a professional. Still, we simply keep eating them and filling the “junk” so they can wash our brains. There is a motivation behind why Lou made these strides. This is, on the grounds, because society changes his character.

With further reasons, we discover a ton of negative connections between the spectators and TV, particularly news. We adore brutality and explicit content, we cherish governmental issues, however, a mishap on a street welcomes more perspectives. It’s like an art performance but doesn’t have the true essence of what art is. Moreover, the loathsomeness is there and bundling the general climate of this film. There was a gripping scene when Lou recorded the film in a home invasion. There was a scene when he manipulated an edge and expelled a family photograph of the victim in question. What’s more, he recorded the victim through the individual’s house while the victim was outside.

The more the film turns into a terror, the more we take a gander at the change of Lou. We all effectively incited and understand Lou himself, including when he does these “messy” things. James Newton Howard’s score changes the force and unbending characteristic. As though, we saw Lou’s innocence firsthand. Robert Elswit, Paul Thomas Anderson’s cinematographer, captured the Los Angeles night environment well. There are heaps of neon improvements like observing aesthetic of the 80s, similar to “Drive”. In contrast to “Drive”, Gyllenhaal as paparazzi criminal sociopath is simply marvelous. It resembles Travis Bickle stuck in time and attempting to back to its unique way. He is manipulative, blather, and capricious. No one can tell how he acts since he never comprehends different characters.

“Nightcrawler” is a profane reference of the dark side of a media, news-casting, TV, yet we know the case. It’s fascinating yet pitiful simultaneously when Oscar snubbed Jake Gyllenhaal. Certainly, it’s extremely sad really. There is a satire of capitalism, present-day tropes, audience, and others. The film is intimate with eagerness and news. Additionally, they regularly penance something to give us the most valuable substance. However, I effectively related to Lou. Am I still discussing TV since it resembles talking about other things? Whatever.

4.5 out of 5 stars.

Salman Al Farisi

An Indonesian who loves to watch and read everything. A literary student who likes to write about reviews and essays on Crackdown Review. But, I just wannabe critics who love arthouse than anything.

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