Last updateMon, 20 Apr 2020 1pm

Writer-director Dan Gilroy and Jake Gyllenhaal, who previously partnered up on Nightcrawler, take a creative step backward with Velvet Buzzsaw, an art-world satire/horror effort.

Gyllenhaal plays Morf Vandewalt, an art critic losing his lust for the profession. His love affair with Josephina (Zawe Ashton), an art-house employee, gets confusing in many ways when she comes across paintings by a dead man in her apartment building. The paintings, which the artist literally put his blood into, have deadly consequences for those who gaze upon them.

Gyllenhaal is his usual sharp self, creating something funny without going for obvious laughs. Rene Russo is equally good as a ruthless art dealer—she’s willing to cut down anybody who gets in her way. The supporting cast includes Toni Collette, John Malkovich and Billy Magnussen, which contributes to the feeling that the film should be more than what it is.

And what is it? It’s sharp satire in its first half, and a sloppy horror film in its second. Velvet Buzzsaw is not scary by any means, and it tries a little too hard to be. Gilroy takes his eye off the ball, loses focus and wastes a promising premise and solid performances.

Velvet Buzzsaw is now streaming on Netflix.

Published in DVDs/Home Viewing

Jake Gyllenhaal’s character Louis Bloom is the very definition of serpentine in Nightcrawler, a scathing look at TV news and the lengths producers and stringers will go to for ratings and a payday.

Stealing wire fences and manhole covers for a living, and desperate for some real work, Bloom (Gyllenhaal) happens upon a car accident where an invasive cameraman is filming bloody footage for a quick buck. Bloom—an isolated man who spends his days studying the Internet—pawns a stolen bike, gets himself a crappy video camera and a scanner, and thrusts himself into the business of crime-footage videography.

He starts small, grabbing footage at auto wrecks and butting heads with Joe Loder (Bill Paxton), a seasoned videographer who doesn’t like newbies treading on his territory. Louis eventually finds himself in the presence of Nina (Rene Russo), a bloodthirsty TV-news producer struggling to find her way on a low-rated station; she pays Louis a couple hundred bucks for his bloody footage. Against the wishes of her co-producers, Nina leads with Bloom’s video on the morning news, and an unholy alliance begins.

Bloom hires an assistant in Rick (Riz Ahmed of Four Lions), who clumsily navigates as they race through the streets of Los Angeles looking for carnage. Things escalate from filming car crashes and fires, to filming shooting aftermaths and other crime scenes. When things start to slow down, Louis becomes unrelenting in his attempts to find stories. In short, there is nothing he won’t do to get the footage. Nothing.

He’ll move bodies to frame a better shot. He’ll withhold footage from the cops after entering a residence to film murder victims. None of these actions, however, compares to what he will do in the event that an employee tries to negotiate for a raise. He’s a far cry from the puzzle-solving, earnest news investigator Gyllenhaal played in Zodiac. He represents the complete degradation of media from something sensationalistic into something that is pure evil.

Russo’s Nina is, in many ways, as psychotic as Louis. She is reckless, encouraging Louis to dig deeper and pushing him into more deranged territory. Russo hasn’t been this good in years.

Paxton, who used to specialize in wild-man, gritty roles before Twister and Titanic, relishes the chance to get down and dirty again. He only has a few scenes in the film, but those scenes are true standouts. Ahmed gives the sidekick role plenty of dimension. He gets the laughs when they are supposed to come—but he also manages to create a frightening tension in his showdowns with Gyllenhaal.

This is the directorial debut of Dan Gilroy, who also penned the screenplay. Gilroy clearly doesn’t have a positive opinion of the broadcast-news machine. The folks putting together the news in this movie are something akin to cannibals and vampires waiting in the dark for a vein to be severed. Louis is a genuine movie monster.

Gyllenhaal lost a bunch of weight to play the greasy Louis, and he achieves a physical creepiness that matches nicely with his character’s infected soul. Louis is darkly funny, especially when he berates Rick or blackmails Nina. He’s also sinister and deeply scary in a very Travis Bickle/Taxi Driver sort of way. Gyllenhaal is excellent here; this is his second great 2014 performance after playing twins in Enemy. The guy is really stretching out.

According to Nightcrawler, gone are the days of dignified anchormen and heroic news gatherers. The tie-wearing talking heads and scrappy field reporters have been replaced by bloodsuckers and sycophants, with the likes of Louis Bloom leading the sick charge.

Nightcrawler is playing at theaters across the valley.

Published in Reviews