Tag Archives: Jake Gyllenhaal

The Camera Never Lies

 

Nightcrawler

by George Wolf

I don’t know why it took so long to combine Network, Broadcast News and American Psycho, but Nightcrawler is here now, so buckle down for a helluva ride.

It is a mesmerizing film, propelled by a career-defining performance from Jake Gyllenhaal. Years from now, his “Travis Bickle”  may very well be Lou Bloom, a strangely polite, utterly driven man in search of a purpose.

He finds it via an old camcorder, which becomes his passage into the life of a freelance videographer in L.A. Night after night, Lou waits by a police scanner for a chance to be the first at a crime scene and come away with footage that will fetch a high price from the local TV news stations.

Lou seems like a natural, and soon he’s got an assistant (a terrific Riz Ahmed), brand new equipment and a cozy relationship with a news director (Rene Russo, supporting award-worthy) who describes her broadcast as a “screaming woman running down the street with her throat cut.”

But first, the weather!

Writer/director Dan Gilroy has several screenplays under his belt (The Bourne Legacy, Two for the Money) but may be best known as Russo’s husband. That should change, as his debut as a director is awash in style and biting creativity.

Call it poetic justice that Nightcrawler is opening just as TV news enters the November sweeps ratings period. Yes, the film hits the “if it bleeds, it leads” mantra and hits it hard, but doesn’t shrink from wondering just who that indicts:  the show or its audience?

As Lou’s sociopathic tendencies lead him to become more and more involved in the stories he’s covering, the film sharpens its satirical claws. Fear-mongering, class warfare, “bootstrap mentality” and more take a beating, with Gilroy showing great instincts for when to pull back before his hand becomes too heavy.

His gets a great assist from Oscar-winning cinematographer Robert Elswit (There Will Be Blood), who bathes the film in dark, sleek shine, making Bloom’s seedy world inescapable.

But the anchor here is Gyllenhaal’s can’t-look-away performance. He makes Lou Bloom an American psycho for today, unfazed by business cards but unable to tolerate anyone altering his plan for upward mobility. He’s all smiles and positivity, all the while analyzing your weaknesses he will unapologetically exploit when necessary.

Everything about Nightcrawler should be in the 2014 awards mix. Chase this ambulance down, and fast.

 

Verdict-4-0-Stars

 

Make Sure You’re Prepared

 

by George Wolf

 

Pre-game warmups aren’t usually part of the moviegoing experience, but Prisoners may require a little preparation.

Quite simply, it will wear you out.

Director Denis Villeneuve and writer Aaron Guzikowski have crafted a relentlessly intense, utterly engrossing mystery/thriller that will bludgeon your nerves, tease your sensibilities and leave your morals in disarray.

Hugh Jackman is unbelievably great as a father desperate for answers after his daughter, and his neighbor’s daughter, are abducted on Thanksgiving Day. The assigned detective (Jake Gyllenhaal) believes a troubled local man (Paul Dano) is to blame, but can’t find the evidence to hold him. Jackman’s character, overcome with rage, takes matters into his own hands.

That’s all the info you need, but just a tiny fraction of the complex chain of events set in motion by the crime. Guzikowski, who adapted the Contraband screenplay last year, delivers a twisting, intelligent script that lulls you with the familiarity of the premise all the while it’s leading you places you may not want to go.

Villeneuve, best known for writing and directing the Oscar-nominated Incendies three years ago, makes a stunning English language debut that succeeds on many levels. If a thriller was all it was, it would be a good one, relying on a substance that recalls years of Hollywood films from Death Wish to Gone Baby Gone.

Prisoners transcends the genre in the way it forces its audience to face the same moral ambiguities the characters are up against. The stupendous cast, which also includes greats such as Terence Howard, Viola Davis and Melissa Leo, fills each character with gritty realism, allowing actions that seem justified in one set of circumstances to be easily called into question.  As surprises mount,  the film lands solid blows to perceptions of torture, fear-mongering, religious fanaticism, and even basic parenting.

Sound like a lot? It is, and the film earns every minute of its two and a half hour running time. It is a dark, cathartic journey that is not for the squeamish, and the film’s length only serves to reinforce the hell these people are going through.  They want it to end, and so do you, but only because the film has hooked you so deeply.

You’ll need to pay attention and listen hard, and though you probably won’t figure things out early, the clues are all there in front of you. Prisoners is a breathtaking ride that rewards the effort it demands, ultimately providing a satisfying payoff, capped by an unforgettable final scene that may very well find its way into your dreams.

 

 

Verdict-4-0-Stars