‘Nightcrawler’ shines the light on TV sleaze

Whether the industry’s faults are its own or due to simply satisfying audience demand is an exploration for another review or another movie. “Nightcrawler” instead takes us on a nuts-and-bolts journey of the process of content collection.

The procedure apparently goes something like this for the freelancer: Listen to police band radio. When an interesting, provocative incident occurs that has potential for violent imagery located in a good (read: white) neighborhood and consisting of good (read: white) victims, then get in a fast car and drive recklessly to beat your competitors to the scene. Take up-close, nearly intimate video shots of the incident, until the police notice you and shoo you away.

Offer video to news stations. Negotiate price. Receive check. Repeat.

It’s TMZ, but with blood and guts instead of Botox and silicone.

We first meet Lou Bloom (Jake Gyllenhaal) at a crime scene, but one in which he is creating himself. He, at that moment, is making ends meet by clipping off a chain-link fence so he can sell the metal for cash. He seems to be sort of the man who is willing to do anything to survive.

On the way home from pawning off his stolen goods, he chances upon a terrible car accident and discovers something life changing. He observes a freelance video crew led by Joe Loder (Bill Paxton) film emergency responders as they attempt to pull a car crash victim from a burning vehicle.

Bloom’s interest is piqued, especially the next morning when he sees Joe’s work on a segment on the morning television news broadcast. Like any great businessman, Bloom recognizes an opportunity, or maybe he is just tired of petty thievery as a trade.

He invests in a police band radio and a camcorder and embarks on a new career path with sociopathic zest. He starts collecting videos and selling them to a sleazy ratings-hungry producer played by Rene Russo.

She is particularly grimy as Nina, a swing shift news producer, channeling Faye Dunaway in “Network” if you can imagine that character at the very, very tail end of her career. It’s Russo’s best performance in quite awhile, even if the character she plays is a caricature. Nina is a perfect kindred spirit to Bloom.

The cast is rounded out by Riz Ahmed (“The Reluctant Fundamentalist”), who plays Bloom’s “intern.” His role is mostly minor, but at the very least, he’s probably delighted he doesn’t have to play yet another typecast “Muslim” or “terrorist” because of his Pakistani heritage.

Ultimately, this is definitely Gyllenhaal’s movie from top to bottom.

He plays Bloom like some twisted version of Dale Carnegie, enhanced by an utter absence of morality. He crosses every ethical and legal boundary while utilizing tried and true business strategies — negotiation, team building, resource management, capital preservation, etc.

Gyllenhaal pulls it off with a frightening zest. He appears disturbingly gaunt and mealy. He is creepy and disgusting. Yet in equal parts, his absorption into the role makes him utterly enthralling, with a disturbing magnetism that cinematographer Robert Elswith captures well. If more than a handful of people see this film, look out for the resultant best actor Oscar buzz.