" I'd like to think if you're seeing me you're having the worst day of your life. " – Louis Bloom.

Rating: 10/10 (19 May 2017)

But I'd like to say that if you're seeing him in that movie, you're having the best day of your life (or weekend at least). And you'll scream your lungs out with these words: What exactly the f*ck is up with the folks at the Academy? Good Ol' Jake never gets his nod at the Oscars unless he's Broken-some-backs?
"Nightcrawler(s)" is a term for freelance cameramen, seen here roaming LA after dark in search of lurid stories to sell to TV: as the dictum goes: "If it bleeds, it leads."
Jake Gyllenhaal plays Lou Bloom, a venturesome beginner who demonstrates appallingly great at the exchange, being completely committed and hyper-composed, with the moral second thoughts of a moray eel.
The experiences about the ethical opportunity of TV news are not really novel, yet what gives Nightcrawler its class is Gyllenhaal's alarming, now and then coldly comic execution as the beguiled screw- up, always vacantly gushing certifiable administration manual talk. Yet, underneath the enthusiastic beaver brilliance is a non domesticated soul, showed up – oil slicked hair, the thinness of a sleep deprived person austere and a glare that appears to be painted on to his eyelids, as though Lou is a recording gadget for all time exchanged on.
There's solid support from Riz Ahmed as Lou's hapless en-roll, however the genuine shock is a show-taking Rene Russo as Nina, a hard- nibbled news manager on the falling flat station that offers Lou his reprieve. In an uncommon scene, Lou welcomes her to supper, consults for better terms and, as a major issue, demands this extensively more established lady laying down with him; the enthusiastic (and oedipal) fencing between the two is awfully convincing.
Mental extravagance aside, Nightcrawler works adequately as an incline thriller, with the city night given a cool, metallic sheen by cinematographer Robert Elswit. It may not be pivotal, but rather Nightcrawler emerges as an appreciated peculiarity today, reviewing the kind of harsh dramatisations once made by executives, for example, Michael Mann, Sidney Lumet or James B Harris. Gilroy marginally blows it with a group satisfying climactic pursue, yet this is an appropriately grown-up excitement; and it contains the most critical new beast in sight, being the most miserably human.
Louis Bloom is pretty much pure evil. Worse than that, he is the kind of pure evil that you might expect to find living right next door to you. Though ultimately just a man, Bloom has long abandoned any semblance of humanity in favour of pursuing any venture that will benefit him and him alone.This philosophy eventually attracts Bloom to the world of paparazzi-style news recording.
The worst part is that "Nightcrawler" leads us to believe that Bloom will ultimately get his in the end, but that doesn't prove to be the case. At all. Instead, we come to find that Bloom will not only avoid prosecution for his various crimes, but that he's found himself a very profitable place in the world of violent news reporting. Things could not have gone better for this madman.