Nightcrawler

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.

Gilroy writes and directs this in a strikingly telling way, simply skipping over some events that are later alluded to tantalisingly. Other things become far too clear before they happen. The result is a film that demands that the audience gets involved, seeing things through Lou's twisted perspective and understanding that this is how a lot of the world really works. This confident filmmaking extends to the set-pieces, which are fiercely original (the car chase is nerve-shredding, as is Lou's ghastly tour of a murder scene). But all of this is marvellously subverted by a blackly comical undertone, with continual witty dialogue and gallows humour. So we look at Lou and almost root for him, understanding that this is all kinds of wrong.

Rich Cline