Superb thriller from the School of Fincher, Nightcrawler is Gylenhall and Gilroy in top form

Rating: 8/10 (2 November 2014)

David Fincher would be absolutely proud.
Nightcrawler is a melancholy subtle thriller that laces fantastic acting with a strong script with plenty to say and wrapped together by tight editing, incredible cinematography, and a moody James Newton Howard (who has been exceptionally busy lately) score that has a very unexpected Ross/Reznor feel. Dan Gilroy's directorial debut is arguably among the best since Shyamalan's Sixth Sense---another impressive debut with the similar under the bubble suspenseful psychological horror that keeps you on edge until the final minutes.
How the writer behind Reel Steel and Two for the Money managed to imitate Fincher I'll never know, but it sure does help to have some Oscar-worthy acting at front and center. Jake Gylenhall as Louis Bloom is easily the strongest aspect of the film, as his character is like a bone-crushing car accident: brutal, uneasy to look at, but you still can't look away. This is Gylenhall's movie easily, as his cold eyes, anti-social demeanor, and psychotic way of life makes his character one of the best you'll see in cinema nowadays.
Similar to how End of Watch (AlsoJake Gylenhall) took a known lifestyle and then displayed the grim dark side of it, Nightcrawler chronicles the late-night lives of people that record and deliver the late-night news—while simultaneously showing the ugly underbelly mannerisms behind what you see on television. Dan Gilroy's script pulls no punches as he not only writes an interesting character in an interesting premise, but also interweaves some clever and biting commentary about the pursuit of success and the murky morality during the rise to the top.
But the movie never appears preachy because it still has a good story to tell, and consistently prevents you from figuring out how far, how deep, and how wicked it goes. Nightcrawler has a slow yet steady pace as it morphs from a glimpse of a lifestyle to a scenario that stems from it. The ascetics enhance the mood as the cinematography transforms Los Angeles into an eerie environment with heinousness creeping out of the dark corners everywhere. What is more surprising than Gilroy's superb directing debut is Howard's score which deviates far from his normal blockbuster orchestral feel and gives us a low-volume high-intensity score that undermines and bubbles under the silent terror of the hunt for grisly footage.
What honestly kills some of Nightcrawler's momentum in the Oscar run and attempt to be the best film of the year is ironically David Fincher and Gone Girl. Gone Girl not only came out first, but also has the biting commentary that oozes out of its script, superb directing, and a phenomenal musical score that ties together a story that has few heroes, and even fewer chances of the audience figuring out its next direction. Gilroy makes a grand entrance, too bad it had to follow up the master of the broody underground cinema scene—similar to how the wonderful David Bowie had to unfortunately follow (and never have a chance to surpass) Queen's legendary performance in Live Aid 1985.
However it is cruel to bring up another movie when the one currently being discussed is still a great work of cinema. Gylenhall, Gilroy, and Howard are Oscar-worthy as their skills blend together to create one of the best films of the year, and a hell of a thriller overall. Even if the ending underwhelms and dissatisfies a little, there is no denying that Nightcrawler will leave an impression on you from the character of Louis to the slick writing and camera-work that perfectly unites him and the midnight environment slums from which he comes from.
Nightcrawler is dark, dark chocolate: satisfying, fulfilling, and with that nice bitter aftertaste.