Tony Gilroy

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Nightcrawler Review


A gently comical undertone makes this thriller even creepier than expected, bolstered by sharp writing and directing from Dan Giloy and an especially clever performance from Jake Gyllenhaal. Comparisons to Taxi Driver have been obvious, as the lead character is a potentially dangerous sociopath on a very personal quest. And the film also taps into the current zeitgeist: how the media panders to a public that increasingly screams for blood. It's a thoroughly unnerving film that often feels more like a very grim satire than a proper thriller.

Gyllenhaal plays Lou Bloom, a loner who is desperate to make his mark on the world. Searching for something to do, he stumbles across the people who prowl the city streets after dark in search of an event they can film and sell on to a TV news outlet. Learning from a veteran (Bill Paxton), Lou gets his own camera and a police scanner and starts chasing car crashes, house fires and violent crimes all over Los Angeles. And when he finds that TV news director Nina (Rene Russo) wants to buy his footage, he hires Rick (Riz Ahmed) as an assistant, getting even more aggressive about arriving on the scene before the competition. But Lou isn't willing to settle for that, and starts manipulating the news to get even better stories.

Where this goes from here is pretty unimaginable, as Lou reveals himself to be utterly unencumbered by any hint of a moral compass. Of course, this is a central theme of the movie, as it explores the way audiences clamour for more explosive footage, which pretty much eliminates any sense of human decency in the way events are covered. Gyllenhaal portrays Lou as gaunt and hungry, but with an eerie charm that lets him get away with each audacious manoeuvre. Watching him snap at anyone who crosses him is truly terrifying. Although the way he quietly manipulates situations is even scarier.

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Jake Gyllenhaal Receives High Praise For 'Nightcrawler'

Jake Gyllenhaal Rene Russo Tony Gilroy Dan Gilroy Riz Ahmed Bill Paxton Ann Cusack

Jake Gyllenhaal's performance in Nightcrawler has been highly praised by critics ahead of the film's US and UK release.

Jake Gyllenhaal in Nightcrawler.

Read More: Author Claims To Be Son Of Zodiac Killer - Remember The Movie?

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The Bourne Legacy Review

Writer Gilroy adds directing to his Bourne chores, shifting the franchise into a cerebral thriller punctuated by plodding action sequences. It's watchable, but doesn't have enough sense of character or purpose to make us care about anything that happens.

Genetically altered government agent Aaron Cross (Renner) is part of Outcome, a parallel programme to Treadstone, which created Jason Bourne. Since Bourne's antics have lifted the lid on Treadstone, Outcome director Eric (Norton) decides to terminate his programme by brutally killing everyone involved. But Aaron slips through the net, as does geneticist Marta (Weisz), whom Aaron needs for the meds that keep him going. As Eric's team hunts them down, they head to Manila to find a solution.

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at the Universal Pictures world premiere of 'The Bourne Legacy' at the Ziegfeld Theatre - Arrivals

Tony Gilroy and Ziegfeld Theatre - Susan Gilroy and Tony Gilroy, Monday 30th July 2012 at the Universal Pictures world premiere of 'The Bourne Legacy' at the Ziegfeld Theatre - Arrivals

at the Universal Pictures world premiere of 'The Bourne Legacy' at the Ziegfeld Theatre - Arrivals

Rachel Weisz and Tony Gilroy - Rachel Weisz, Tony Gilroy, Monday 30th July 2012 at the Universal Pictures world premiere of 'The Bourne Legacy' at the Ziegfeld Theatre - Arrivals

The Bourne Legacy Trailer

The CIA is confronted with the consequences of previous events that have taken place involving Jason Bourne. They decide that they must shut down Operation Outcome (the subsequent operation to Operation Treadstone) which will involve the assassination of Outcome agent Aaron Cross and Doctor Stephanie Snyder who helped produce the agents. They must find an escape or be killed.

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State of Play Review

Big government getting in bed with corrupt private conglomerates. The fresh-faced Congressman hell-bent on bringing said scandal to light. The uncovered infidelity which threatens his power base, and the crumpled investigative journalist who must resolve his personal interest in the story with the legitimate needs of the press and his own corporate bosses. This should be the basis for a crackerjack thriller -- and it actually was when BBC scribe Paul Abbott crafted the six-episode series State of Play back in 2003. As with most successful foreign exports, Hollywood came calling, and now we have the big screen version starring Russell Crowe, Ben Affleck, and Helen Mirren. Instead of expanding the suspense, however, this ragtag, routine experience is effective, if perfunctory.

When the research assistant to brash young House member Stephen Collins (Affleck) dies in a mysterious accident, the press has a field day with the politician's possible adultery. Naturally, the Washington Globe and its crack staff, including reporter Cal McCaffrey (Crowe), blogger Della Frye (Rachel McAdams), and editor Cameron Lynne (Mirren), are exploring every angle. But there's a catch. You see, McCaffrey and Collins were college roommates, and they've maintained a strong friendship ever since. They've even shared the affections of the Congressman's current wife Anne (Robin Wright Penn).

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Duplicity Review

It doesn't take much to make the life of a spy look great. The travel, expense account, sense of danger, all that role-playing -- it's catnip for most people, whose greatest investment in daily skullduggery tends to be making their boss believe they're actually working. In Duplicity, however, writer/director Tony Gilroy ups the ante by reveling in all of the above while throwing in a keen sense of fun and maybe even a dash of honest-to-god romance. It's a dashing and bright entertainment that aims to please without scraping the floor for your approval. In other words, about as different a world from Gilroy's Michael Clayton as could be imagined.

The film starts with a quick meet-cute at an American consulate 4th of July barbecue in Dubai, where MI-6 agent Ray Koval (Clive Owen) is flirting with Claire Stenwick (Julia Roberts). He doesn't figure out that she's a CIA agent until much later, long after she absconded from his room with a parcel of secret documents and he has woken up from the drugs she knocked him out with. Years later, the two are thrown together again when Koval takes a private security job with Equikrom -- a Unilver-like corporate giant that produces everything from shampoo to diapers -- only to find Stenwick already in place as a deep-undercover operative working for rival firm Burkett & Randle, which is on the brink of a delivering a paradigm-busting new product that Equikrom wants badly.

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Premiere of 'Duplicity' at Ziegfeld theatre

Tony Gilroy and Ziegfeld Theatre Monday 16th March 2009 Premiere of 'Duplicity' at Ziegfeld theatre New York City, USA

Tony Gilroy and Ziegfeld Theatre
Tony Gilroy and Ziegfeld Theatre

Premiere of 'Duplicity' at Ziegfeld theatre

Tony Gilroy, Susan Gilroy and Ziegfeld Theatre - Tony Gilroy, Susan Gilroy New York City, USA - Premiere of 'Duplicity' at Ziegfeld theatre Monday 16th March 2009

Michael Clayton Review

Slowly but surely, George Clooney is venerating different decades from Hollywood's storied past. His Ocean's larks with Steven Soderbergh are throwbacks to the swinging '60s. He resurrected the paranoia of 1950s McCarthyism in his directorial effort Good Night, and Good Luck, then recreated a sinister, post-World War II film noir in The Good German (also with Soderbergh). Confessions of a Dangerous Mind paid goofy tribute to '70s small-screen icon Chuck Barris. Later this year, Clooney will crib comedic styles from Cary Grant's 1940s romper-stompers for the romantic farce Leatherheads.

And then there is Michael Clayton, a gripping and complicated thriller with hush-hush undertones that would fit comfortably alongside similar films from the 1970s -- think of Francis Ford Coppola's The Conversation or Alan J. Pakula The Parallax View, because Clayton writer-director Tony Gilroy certainly had pictures of this fabric in mind.

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The Bourne Ultimatum Review

There are actually three screenwriters credited for The Bourne Ultimatum, though it's hard to imagine what exactly they all did to earn their paycheck. "You don't remember anything, do you?" "It's Bourne." "It ends here." [insert car chase] That doesn't mean that this third installment of the popular shaky-cam travelogue spy thriller series doesn't deliver all that it's intended to, and occasionally more, it just means that you're more likely to hear barked-out commands or the sound of squealing tires and shattering glass than two or more actors exchanging full sentences as part of a conversation. This is a film that asks exactly how much traditional storytelling structure can you cleave away and still have a coherent and engaging piece of work? The answer: Nearly all of it.

Coming off last year's abysmally underrated United 93, director Paul Greengrass thankfully returns for his second film in the series about the titular amnesiac CIA-trained assassin (Matt Damon) with identity issues. Although the resulting film is not nearly up to the hard-to-match bar set by the preceding film, The Bourne Supremacy, it's hard to imagine any other director currently working who would be able to keep the relentless pace delivered by Ultimatum. Unfortunately, it's also all too easy to see that the filmmakers and Damon are coasting when they could be soaring.

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Dolores Claiborne Review

Kathy Bates and Jennifer Jason Leigh have returned in a new Steven King film, Dolores Claiborne. Another departure from typical King fare, this is a tense psychological drama and character study, akin to last year's The Shawshank Redemption (also based on his work).

Set on a depressed and perpetually wet island off the coast of Maine, Dolores Claiborne (Bates) is the focus of the film. Looming in her past is a secret: she may or may not have killed her abusive husband (played in flashbacks by David Strathairn). In the present, Dolores has apparently been driven to madness by her husband and her employer Vera, the elderly woman for whom Dolores nursemaids. At the film's opening, we are presented with what appears to be Vera's death by Dolores's weathered hands.

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Bait Review

The American fascination with personal surveillance and voyeurism has reached a new and strange level. TV shows such as Survivor, Big Brother - and movies such as Enemy of the State and The Blair Witch Project have raised the bar for compulsive interest in other peoples' lives. It is as if America has become a nation of stalkers and shut-ins locked away behind their television and computer screens. The new Jamie Foxx film Bait is a prime example of how this sadistic, cultural phenomenon has been constructed into mainstream Hollywood fodder for the masses.

I didn't know what to expect of Bait. From the media blitz in the past couple weeks, the movie looked like a weird hybrid of Blue Streak, Enemy of the State, and Hackers without Angeline Jolie (dammit!). The story follows Foxx as an inept thief named Alvin Sanders who involuntarily helps Federal agents track down an ultra-cool computer hacker -- Doug Hutchison (that asshole guard Percy Wetmore from The Green Mile) -- who has robbed the U.S. Gold Reserve with lackey Robert Pastorelli of 42 million dollars.

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Tony Gilroy

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