Like an alternate version of Network in which Faye Dunaway cannibalizes the conscientious William Holden character, Nightcrawler cleverly dispenses with any debate about the tyranny of ratings and the erosion of privacy.
A gritty urban comedy noir, a scathing, Network-worthy disembowelment of television newsgatherers that will leave you craving a shower.
It seems like a lot of satirical hue and cry about a social problem I'm not sure the nation is currently plagued by. Are local TV news stations really conducting daily bidding wars over the goriest footage random freelancers can bring them?
Crashes and crime scenes are his bread and butter. He is driven. He is innovative. He is happy. He is also a monster - a fiend who preys on people at their weakest and worst moments.
Now 33 years old, Gyllenhaal is the same age that De Niro was in Taxi Driver and, like him, he is learning to channel an eerie, inner charisma, offering it up in glimpses and glimmers rather than all at once.
For a first-time director, Gilroy demonstrates an uncommon assurance, not only in his audacious tonal shifts but in the stellar work he elicits from his cast and crew.
A mesmerizing cipher, Lou is a spiritual descendant of Robert De Niro's Travis Bickle in Taxi Driver, and of the withholding protagonists in the existential French crime films of Robert Bresson and Jean-Pierre Melville
After a few minutes you know everything about Louis you're going to know; the only surprise in Nightcrawler is the level of grotesqueness it achieves.
[Gilroy] wants Louis, who perpetrates some ghastly escapades, to epitomize the sick soul of media exploitation, but he also celebrates him as an entrepreneurial go-getter who is just giving us hypocrites what we secretly (or not-so-secretly) crave.