先感谢Jake吧字幕组【Edith】的大力翻译

“开路”公司能否为杰克.吉伦哈尔、蕾妮.罗素、以及《夜行者》在这个奖季争得一席之地？
【文章】译自hitfix
【作者】克里斯托弗.塔普莱
【翻译】Edith
—— 丹.吉尔罗伊的电影描绘了一幅霓虹灯下的野心群像

看了丹.吉尔罗伊的《夜行者》之后，我对杰克.吉伦哈尔的敬佩达到了新高度。他最近一直在不断地尝试有趣的新角色，他曾和许多著名的电影人合作过，但现在的他似乎正确实通过对于会吓坏绝大部分明星的、独一无二的角色进行探索，以提升自己。《警戒结束》中喜欢自拍的警察，《囚徒》中执着于破案的侦探，以及现在这个，《夜行者》中野心勃勃的精神病。

但是，他并没有把这个人物演成神经病，路.布鲁姆是个发奋图强的小人物，一直在不停地找工作，他学习和吸收新东西的能力令人不安地快速。电影中，路.布鲁姆在洛杉矶夜晚的街头进入到了自由新闻工作者的行业。他从未真正有过辉煌、出位的时候，但是拉线圈式的叙事让你期待他会，而这也正是本片出彩之处。吉伦哈尔扮演的布鲁姆有一种可怕的冷静和彻头彻的控制欲。他有计划、注意力高度集中。这些让他最终变成了危险人物。

与其说《夜行者》是一部好电影，不如说有个好剧本，因为吉尔罗伊有点难以把握故事的基调。尤其是配乐与电影不协调（编曲是获八次奥斯卡提名的詹姆斯.纽顿.霍华德），我以为配乐会更黑暗、节奏更快一些，但这仅仅是我自己的观点。我知道吉尔罗伊（《碟影重重》和《敌对同谋》编剧海尔默.东尼的兄弟）很有才华。他构筑了一个世界，并在其中塑造了一些有趣的角色（比如比尔.帕克斯顿扮演的自大的同业对手）。但毫无疑问的是，这其中也有摄影师罗伯特.艾斯威特的功劳。

不只有在《盗火线》、《借刀杀人》和《亡命驾驶》中，我们才可以在夜幕下的洛城捕获到如此深刻的细节。艾斯威特找到值得一看的洛城小南部的角落和街道，揭示出洛杉矶是一座由蜿蜒曲折的街道把富人区和穷人区连在一起的迷宫。让我最着迷的是他把洛城真实地再现了出来；数字化能让夜景更清晰，但《夜行者》说明了电影胶片仍然大有市场。（注：艾斯威特今年的新片还有《性本恶》，另一部以35毫米胶片所拍成的电影。连同《狂怒》和《星际穿越》，这几部是来年奥斯卡最佳摄影之争中最有机会的几部，有里程碑似的意义。）

我希望“开路”公司有足够好运让本片进入来年的奥斯卡之争。我也很高兴他们继续呈现类似的电影，《人狼大战》、 《落魄大厨》和《玫瑰水》；因为很明显大制片厂对这种片子不是很感兴趣。但这不会很容易。这是一部可以在奖季争上一争的恐怖惊悚片，而最佳男主的名额已经爆满。我倒觉得蕾妮.罗素值得像吉伦哈尔一样的被赞美。吉尔罗伊（她的丈夫）带出了她伤痕累累、性感顽强的表演，暗示了她的能力。本片真正演出了快节奏、每秒都在抉择的新闻世界。这些应该能讨得老派影评人的喜爱。

【原文】
Can Open Road find room for Jake Gyllenhaal, Rene Russo and 'Nightcrawler' this season?
By Kristopher Tapley
SATURDAY, SEP 6, 2014 5:32 PM
DAN GILROY'S FILM PAINTS A NEON-STREAKED PORTRAIT OF AMBITION

I came away from Dan Gilroy's "Nightcrawler" with a new level of respect for Jake Gyllenhaal. He's been taking a lot of interesting chances lately, having already decorated his career with a string of notable filmmaker collaborations, but now he seems to really be pushing himself by exploring unique characters that might scare off most stars. The physical specificity of his "End of Watch" cop, the obsession of his "Prisoners" detective, and now, the blind ambition of his "Nightcrawler" psycho.
But he doesn't play this guy as "psychotic." A driven creep looking for work and unsettlingly quick to learn and absorb, Lou Bloom finds his way into the world of freelance journalism on the night streets of Los Angeles in the film. He's never really given a big, broad outburst moment, but the drawn coil of the narrative leaves you expecting it, and that plays to the film's advantage. Gyllenhaal plays Bloom with an eerie sort of calm and control throughout. He's studied. He pays attention. And that makes him, ultimately, dangerous.

I thought it all came across as a better script than a film, though, because a consistent tone seems to be elusive for Gilroy. Score choices in particular (8-time Oscar nominee James Newton Howard is the film's composer) began to clash for me as I wanted things to go darker quicker, I guess, but that's just me. I recognize that Gilroy — brother of "Bourne Legacy" and "Michael Clayton" helmer Tony, who produced — has serious chops. He builds a world here and populates it with intriguing characters (like Bill Paxton's cocky competitor). But he no doubt owes a debt to cinematographer Robert Elswit.
Not since "Heat," "Collateral" and "Drive" have we seen this city captured at night with such striking detail. Elswit finds little Southland nooks and crannies worth showcasing, revealing the LA as a labyrinth of haves and have nots connected by snaking streaks of pavement. What's fascinating to me is that he achieves the look he does on film; digital has been the realm of this sort of night time clarity, but "Nightcrawler" speaks volumes to what's still possible on celluloid. (Note: Elswit also has "Inherent Vice" coming this year, another 35mm effort. Along with "Fury" and "Interstellar," those appear to be the only film shoots in the hunt for Best Cinematography recognition this year, a bit of a milestone.)

I wish Open Road Films plenty of lucky insinuating this one into the Oscar race. And I'm glad they continue to take on films like this, "The Grey," "Chef" and "Rosewater," because clearly the studios aren't interested in what such product adds to their equations. But it won't be easy. This is a funky thriller battling awards bait and the Best Actor category is already loaded. I'd argue, though, that Rene Russo deserves a hard look as much as Gyllenhaal. Gilroy (her husband) draws a wounded, sexy, tenacious performance out of her, a reminder of what she's capable of. And in those scenes, the film really nails the fast-paced, decision-per-second world of broadcast journalism. That ought to help endear it to old school critics.

The End