Nightcrawler

Even the most ardent cynics regarding the sensationalized state of television news will find Nightcrawler to be exaggerated to an almost ridiculous degree.

Yet this dark satirical thriller develops some suspense with a character-driven approach to its story of a morally bankrupt loner who exploits the lurid nature of video crime journalism to his advantage.

Lou (Jake Gyllenhaal) is struggling to make ends meet as a small-time metals thief in Los Angeles, but he discovers a new career opportunity when he meets a freelance cameraman (Bill Paxton) ready to send video to local news outlets from a late-night accident scene.

Before long, Lou equips himself with a camcorder and a police scanner. Despite his gaunt appearance, he’s a confident smooth-talker whose obsession with wealth and power turn him into a cutthroat vulture at crime scenes — the bloodier, the better.

He forms uneasy relationships with an overnight producer (Rene Russo) whose morning newscast is fledgling and in need of a scoop, and with a sidekick (Riz Ahmed) who becomes an object of ridicule for Lou as things gradually get more dangerous.

Despite its contrivances and lack of subtlety, the film marks a textured and stylish directorial debut for screenwriter Dan Gilroy (Two for the Money), who captures the pervasive overnight criminal element on the streets of Los Angeles.

One highlight is a high-speed chase involving the police and a murder suspect in which Lou proves that accomplished driving skills are as critical to his job as steady hands or sheer audacity. The film’s depiction of the competitive newsroom environment — driven by deadlines and ratings at the expense of ethical integrity — is more far-fetched, but consistently compelling.

However, the focus remains squarely on Lou, who is fascinating without generating much sympathy because of his cold-hearted, calculating method of skirting the law and cheating the system. Gyllenhaal, whose career seems to have gotten a boost lately from these sorts of darker and grittier roles, anchors the film with a poker-faced portrayal that’s both chilling and deadpan comical.

The film takes aim not only at the symbiotic relationship between ambulance-chasing cameramen and desperate news producers, but more broadly at a pervasive culture driven by paranoia and voyeurism that allows it to thrive. There aren’t exactly any revelations here, just a vivid peek into what’s out there when most of us are asleep.

Rated R, 117 minutes.