多谢Jake吧字幕组【邪饰】TX的翻译
Toronto Film Review: ‘Nightcrawler’
Scott Foundas
Chief Film Critic of Variety

多伦多电影节影评：《夜行者》
【文章】《名利场》首席影评人：斯考特·方达斯
【翻译】Jake吧字幕组：邪饰
杰克.吉伦哈尔化身穿梭于夜晚洛杉矶的新闻记者，有的观众或许会觉得眼熟

杰克.吉伦哈尔饰演了一个疯狂的自由新闻摄影师，四处寻找着最血腥、最灰暗的新闻事件，他的表演疯狂而神经质——脸颊凹陷，眼睛睁凸，头发黏腻，类似于媒体转型时期的某种柯南博克变异。
杰克是《夜行者》的亮点所在，这是又一部愤世嫉俗、反应洛杉矶病态社会风气的电影，号称“TMZ时代的《冷酷媒体》或者《电视台风云》（两部都是关于电视新闻界的经典电影）。但除了近身刻划了为拍到想要的镜头不惜一切的狗仔、和欣然接受的麻木不仁的观众这些烂熟的桥段，影片并没有挖掘太多。
老牌编剧丹.吉尔罗伊（《谍影重重》编剧）亮丽空洞的导演初秀将于今年十月三十一日由“开路”公司发行，它将测试观众对吉伦哈尔明星魅力的热情程度——一场顶级表演的盛会，虽然电影本身有时引人发笑却一秒钟都不可信。

标准的编剧电影，喜欢事事隐喻，《夜行者》一开始就讲述了艰难求生的拾荒者路易斯.布鲁姆（吉伦哈尔饰），在成为左便携式摄像机、右警用无线电搜索器、以收刮他人悲惨为业的狗仔之前，靠偷卖废金属为生。在一连串搞笑的修修补补之后（他把摄像机的外观改造成了驾车酒精测验仪），学习能力强的路易斯很快认识到，“有流血才有头条”的事实，那句话是吉尔罗伊忍不住借片中资深摄影师（比尔.帕克斯顿饰，他还不幸地发表了一篇点题的演讲）的嘴说出来的。不久之后，路易斯找到了志同道合的伙伴尼娜（蕾妮.罗素饰），一位已入中年，活跃于电视台最前线的新闻部主任，她浓厚眼影下隐藏的绝望透露了她已经被逼至事业的最低谷。

《夜行者》接下来的发展尽在预料之中，随着路易斯开始发迹，他越来越大胆和不计后果——他所要的不只是地位，还有尼娜。罪案现场的警戒线和模糊的道德界限形同需设，由于便捷式摄像机的广泛运用，迫使他将镜头更进一步对准冲击点——劫车事件中的受害者在接近死亡时的痛苦挣扎，厨房冰箱上弹迹斑斑的全家福。
尼娜告诉路易斯，观众想看的是：“城市犯罪渐渐蔓延至郊区。”在此之前，她说最理想的新闻是“被割喉的女人尖声惊叫着沿街狂奔。”——她是费.唐娜薇在《电视台风云》中角色的变异。在那部电影里，费制作了一档恐怖份子真人秀，专门播出由他们拍摄的行动录像。
后来路易斯雇用了一个有点悲崔的实习领航员（里兹.阿迈德饰），并且卖掉自己的两厢轿车，换了一辆涡轮式道奇挑战者，非常有效地节约了时间，甚至比警方更早一步到达犯罪现场。然而，当这些都再也不能满足他之后，路易斯开始试图在犯罪发生前就赶到现场，然后坐等想要的新闻变成事实。

黑色喜剧色彩贯穿《夜行者》，但电影的主调是一种尖锐、苛责的自我省视。吉尔罗伊似乎觉得自己真的揭露了有关记者沉沦以及电视新闻被操控的内幕。当路易斯摆弄犯罪现场以达到最佳拍摄效果时，我们应该感到震惊；当他之后一再这样做时（只是，这次他摆弄的是现场的尸体），观众应该暗自冷笑。但这两个场景和威廉.赫特在《广播新闻》中精心炮制的“鳄鱼的眼泪”一样虚假，只会让人一时震惊，就像我们在看伊拉克及大叙利亚伊斯兰国恐怖组织的斩首录像时还期望有专业的取景和灯光。

与长期合作的保罗.汤玛斯.安德森以及摄影师罗伯特.艾斯威特一起，吉尔罗伊展现了所有洛杉矶的标志性形象：威尼斯海滩、洛杉矶国际机场的跑道，钻油塔和摇曳的棕榈树，还有夜空下的光雾。上阵不离父子兵，本片制片人中有吉尔罗伊的电影人哥哥东尼（《全面反击》导演），弟弟约翰.吉尔罗伊则负责后期剪辑。

【原文】
Toronto Film Review: ‘Nightcrawler’
— Jake Gyllenhaal climbs the walls as a nocturnal L.A. newshound. Some audiences may feel similarly inclined.
Scott Foundas
Chief Film Critic

As a gonzo freelance news cameraman prowling for the goriest, grizzliest scoops he can find, Jake Gyllenhaal gives such a buggy, twitchy performance that — with his sunken cheeks, bulging eyes and greasy hair — he resembles some Cronenbergian mutant in an intermediate stage of transformation. He’s the main attraction in “Nightcrawler,” a cynical, sick-soul-of-Los-Angeles movie that announces itself as a “Medium Cool” or “Network” for the TMZ era, but doesn’t have much to say beyond the familiar, shopworn hand-wringing about shutterbugs willing to do anything to get the shot and the desensitized voyeur audience — us — that laps it all up. A flashy but hollow first directing gig for veteran screenwriter Dan Gilroy (“The Bourne Legacy”), this Oct. 31 Open Road release is a star vehicle that will test audience enthusiasm for Gyllenhaal’s big, mannered star turn — a feast of capital-A acting that’s sometimes amusing to watch but not believable for so much as a second.
Very much a screenwriter’s movie in its habit of illustrating obvious points with self-impressed metaphors, “Nightcrawler” begins with Gyllenhaal’s Louis Bloom scraping by as a literal scavenger, selling stolen scrap metal for cash, before chancing into his new metier as a scavenger of human suffering, armed with a camcorder and police radio scanner. After a handful of amusingly botched first efforts (in which he turns his camera upon such mundane sights as a DUI breathalyzer test), quick-study Louis soon figures out that “if it bleeds, it leads” — words Gilroy can’t help from inserting into the mouth of an older, more seasoned cameraman (Bill Paxton, who also has the misfortune of having to declaim the movie’s title). Not long after that, Louis finds himself an eager ally in Nina (Rene Russo), the middle-aged news director at a last-place affiliate, whose overdone eye shadow and barely concealed desperation tell us she’s reached the last stop in a career of diminishing returns.

“Nightcrawler” goes on to trace a predictable trajectory in which, as Louis’ star rises, he becomes bolder and more reckless in his pursuits — not just of stories, but of Nina herself. Literal police lines and hazier ethical ones present no object, as this camcorder-wielding Weegee pushes his lens ever closer to the point of impact, be it a carjacking victim writhing in his death throes or the bullet-riddled family photos on a kitchen refrigerator. Viewers want to see “urban crime creeping into the suburbs,” Nina tells Louis before describing her ideal newscast as “a screaming woman running down the street with her throat slit” — a variation on the Faye Dunaway character in “Network” pitching a reality show starring a band of SLA-style terrorists. Eventually hiring a rather hapless intern/navigator (Riz Ahmed) and trading his dumpy hatchback sedan for a turbo-charged Dodge Challenger, Louis so effectively cuts down on his response times that he begins beating the police to the scene. And, when that isn’t enough to give him his fix, he tries to get to the scene before the crime has even happened, to will the news itself into being.
Touches of apocalyptic comedy run throughout “Nightcrawler,” but the movie’s overriding tone is one of strident, finger-wagging self-seriousness. Gilroy seems to think he’s really blowing the lid off something here about the depths to which journalists will sink, and the gross manipulations of TV news. When Louis shifts a few items around at one crime scene to make for a more pleasing visual composition, we’re meant to be shocked; and when he does the same thing a while later later — only, this time, with a human corpse as his set dressing — the grim laughter is supposed to catch in our throats. But both scenes are really just trumped-up versions of William Hurt’s post-produced crocodile tears in “Broadcast News,” and anything but shocking at a time when we’ve come to expect professional framing and lighting from even an ISIS beheading video.

Alarmingly gaunt and jittering like a finals student on a coffee-and-Dexatrim bender, all but barking at the moon, Gyllenhaal is undeniably committed to the role, but the character itself never feels like more than a collection of half-baked notions about underemployed young men with too much Web-surfing time on their hands. (Although we never learn much about who Louis is or where he comes from, it’s clear that his sociopathic tendencies have been aided and abetted by Google.) It doesn’t help that Gyllenhaal himself donned a far more nuanced — and frightening — version of this persona just two years ago in David Ayer’s superior “End of Watch,” as a video-obsessed cop who becomes a kind of megalomaniacal reality auteur. Whereas that character had an actual arc, Louis is such an obvious psycho from frame one that there’s nowhere left for him to go.
Working with regular Paul Thomas Anderson cinematographer Robert Elswit, Gilroy goes for all the iconic L.A. trappings: Venice Beach, the LAX flight path, oil derricks and palm trees swaying in rhythmic unison, and the fluorescent haze that hangs in the nighttime sky. A family affair, the pic counts Gilroy’s filmmaker brother Tony (“Michael Clayton”) among its producers, with editing by brother John Gilroy.

再次感谢【邪饰】TX的无私翻译

太不够朋友了，<<Variety>>给了 a rotten tomato。