首先感谢jake吧字幕组<POINT_7>的辛苦翻译

‘Nightcrawler’: Toronto Review
12:55 AM PDT 9/6/2014
by Jordan Mintzer on THR
Jake Gyllenhaal is mad as hell, and nobody else can take it anymore, in this loopy neo-noir sendup of the TV news【在这部关于电视新闻界的新黑色讽刺电影里，杰克.吉伦哈尔极端疯狂，没人能够招架得住】

夜行者：多伦多影评
【译自】好莱坞报道
【作者】乔丹.明茨
【翻译】POINT_7

“只要见血，就能上头条”最能描述我们媒体这种过分的夸张和歪曲，他们以鲜血和内脏来迎合安坐起居室里观众们的口味。
在丹.吉尔罗伊自编自导的处女作《夜行者》里，完全按照这句口号行事的孤独反社会者，决定深入自由电视新闻报道的残酷世界，却发现自己慢慢地被推到了罪案现场的另一面。

这位充满疑问的独行侠由杰克.吉伦哈尔扮演，是他自从影最初的《死亡幻觉》，到最近的《囚徒》和《宿敌》（两主角的问题足够写满半打心理教科书）之后扮演的又一个疯子。但他在本片中又更进了一步，彻底转型为了精神错乱、现代版的卢帕特.帕伯金（《喜剧之王》男主），这个角色的崛起充满道德争议却又全然地令人上瘾。

路易斯典当了他的自行车，换来一台普通DV摄像机和警用频道搜索仪，组建了只有一个人的新闻团队，希望能够捕捉到一些有料的东西，或者更胜，一些血腥的东西。而从一连串让人目瞪口呆的拍摄行动中的某一次开始，他不再遵循犯罪现场的基本原则，例如不要在警察工作时近身拍摄，不要为了拍摄劲爆花絮而闯入受害者的房间。

路易斯的无下限使他成为一个异类，没有谈得来的朋友或者亲人。但这也使得他最终成为了洛杉矶最好的摄影记者之一，尤其是当他开始把作品贩卖给尼娜（蕾妮.罗素，六十岁了依旧性感迷人），一个为了收视率不择手段的本地新闻主编。

剧本由《谍影重重4》编剧吉尔罗伊（他的哥哥托尼.吉尔罗伊编写了《谍影重重（2002）》）亲自操刀，他擅长塑造动荡环境下的不安分角色，并让其去历经各种各样的混乱时刻，从中引发笑料。
其中一场戏就是路易斯和未来的实习医生（优秀的里兹.阿迈德，《拉合尔茶馆的陌生人》）坐在一起，引发了有史以来最糟糕的一场面试。另一场戏是他带尼娜出去约会，仅仅是为了勒令她和自己上床，以换取更多黄金时段的新闻报道。

但一如他笔下古怪的主人公，吉尔罗伊不知何时该收手，本片经常性的风格转换会让人疲惫，虽然就整体来说一点也不无聊。当影片第三幕再一次展现了恐怖的入室抢劫直播，并以预告“白标签”告终时，《夜行者》在多伦多全球首映上获得了满堂喝彩，佳片的制作少不得古灵精怪。

尽管如此，吉伦哈尔仍相当精彩地塑造了路易斯粗暴离谱又紧张兮兮的形象，无论是在进行蹩脚的创业步道，还是试图把他那油腻腻的头发扎起来时。
这似乎是结合了罗伯特.德尼罗在《喜剧之王》里和瓦昆.菲尼克斯在《大师》里的表演，尽管其真正的启迪应该是沃纳.赫尔佐格导演的《灰熊人》中的男主角提摩西.崔德威——另一位用生命拍摄极端视频的人，深知为此需要承担的风险和其中产生的自我膨胀。

作为导演处女作，《夜行者》受益于其成熟的技术包装，尤其是罗伯特.艾斯维特（导演保罗.托马斯.安德森的御用摄影师）的震撼宽屏摄影，将洛杉矶当做幕布施以大量明亮色彩。以及来自詹姆斯.纽顿.霍华德的配乐，让人想起他为迈克尔.曼的《借刀杀人》——另一部设定在深夜的《天使之城》类型片——创作的美妙配乐，使得本片像是其疯狂的远亲：只是他选择的武器是摄影机本身。

制片公司：勇气电影公司
演员阵容：杰克•吉伦哈尔，蕾妮•罗素，里兹•阿迈德，比尔•帕克斯顿
导演、编剧：丹•吉尔罗伊
制作方：迈克尔•利特维克，杰克•吉伦哈尔，大卫•兰卡斯特，詹妮弗•福克斯，托尼•吉尔罗伊
监制：盖瑞•迈克尔•沃特斯，贝奇•丹伯利
摄影指导：罗伯特•艾斯维特
艺术指导：凯文•卡瓦劳格
服装设计师：詹姆斯•纽顿•霍华德
销售：雪乐山公司
影片分级：R级，117分钟

【原文】
“If it bleeds, it leads,” is the mantra that best describes our media’s obsessive exploitation of violence, feeding it to an audience hungry to see lots of blood and guts from the comfort of their own living rooms. Taking that slogan far too literally, a lonely sociopath decides to enter the cutthroat world of freelance TV news reporting, only to find himself slowly edging towards the wrong side of the crime tape, in writer-director Dan Gilroy’s debut feature Nightcrawler.
The loner in question is played by Jake Gyllenhaal, who adds yet another nutcase to a resume that kicked off fully with Donnie Darko and most recently included the heroes of Prisoners and Enemy – two guys with enough issues to fill a half-dozen psychology textbooks. But here he takes things a step further, transforming into a completely unhinged, modern-day Rupert Pupkin, a man whose rise to stardom is as morally questionable as it is downright addictive.

It’s an acrobatic performance in a movie that constantly oscillates – sometimes impressively and sometimes tediously – between neo-noir and contemporary satire, using Los Angeles as the backdrop for a world whose values have gone completely out of whack. Those elements, along with a near two-hour running time, may make this upcoming Open Road release a tough sell for the general public, though the film will certainly have its fans, while its star should gain even more recognition as one of the most daring actors working in Hollywood today.

First seen beating up a security guard so he can steal a pile of scrap metal, as well as pocket the man’s watch, Louis Bloom (Gyllenhaal) is as ruthless as he is obviously out of his mind. Unable to land a steady job, yet ambitious enough to keep trying, he eventually stumbles across a car accident being filmed by a veteran freelance videographer (Bill Paxton) – one of the “nightcrawlers” of the title – who sells his footage to local TV stations eager for scenes of domestic violence and roadside carnage.

Pawning his bike for a consumer-grade DV cam and police scanner, Louis sets up shop as a one-man news crew hoping to capture something juicy – or rather, something bloody. But in one of several hilariously staged sequences, he’s unable to respect the basic rules of a crime scene, such as: don’t stick your camera in a cop’s face while he’s working, or break into a victim’s house to get some good B-roll.

Louis clearly has no limits, which is what makes him such an outsider, with no friends or family to speak of. Yet it’s also what eventually turns him into one of the best cameramen in town, especially after he starts peddling his wares to Nina (Rene Russo, still sultry at 60), a ruthless local news director who will do anything to get good ratings.

Working from his own screenplay, Gilroy – who wrote The Bourne Legacy (his brother, Tony Gilroy, wrote The Bourne Identity) – has a talent for depicting uneasy characters in queasy situations, and he subjects his hero to all sorts of unsettling moments, mining a couple of them for genuine laughs. This includes a sequence where Louis sits down with a future intern (the excellent Riz Ahmed, The Reluctant Fundamentalist) for what may be be the worst job interview ever conducted, and another where he takes Nina out on a date, only to blackmail her into sleeping with him in exchange for more primetime coverage.

Yet like his erratic protagonist, Gilroy doesn’t always know when to settle down or call it quits, and the film’s constant shifts of tone can grow tiring, even if the action as a whole never gets boring. And while the narrative picks up again in a third act that features a gruesome home invasion captured live on tape, culminating in a white-knuckle action sequence that was justly applauded at Nightcrawler’s Toronto world premiere, there are too many screws loose here to make for a completely solid picture.

Still, Gyllenhaal does a fantastic job channeling Louis’ outrageous and overwrought personality, whether he’s offering up lame sermons on entrepreneurship or tying his greasy long hair into a knot. It’s a performance that seems to take cues from both Robert De Niro in The King of Comedy and Joaquin Phoenix in The Master, although the real reference could be Timothy Treadwell in Werner Herzog’s Grizzly Man – another character risking his life to capture something deadly on video, well aware of both the danger it entails and the self-aggrandizement that it generates.