Nightcrawler

I may sound like I'm gushing when I write that meeting the wise, striking Dev Patel and listening to a talk with the handsome, funny Jake Gyllenhaal were the highlights of this year's Dubai International Film Festival for me. And make no mistake, I am.
I am an aspiring freelance writer. A part of me, I have to admit it, would sell my soul just to have an essay published in some rapidly growing website. However, another part of me is trying to reach the market for entirely different reasons.
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The true genius of Gyllenhaal's character is the way that his dialog -- his narration -- is relentlessly constructed around the language of American boosterism. It is the language of Dale Carnegie, of Benjamin Franklin.
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The news media is a frightening place proven to provide the maximum audience draw in its time slot. When I watched Jake Gyllenhaal's performance, I got that familiar queasy feeling, which to me signaled success for a film that aims at full immersion into this sordid world.
So if Nightcrawler is not, at its core, a condemnation of the current condition of news media, what is that larger message? Gilroy's movie is about a society that has become unmoored, a society in which traditional economic and moral structures no longer function.
You would think that TV stations have a public-interest obligation to cover government, public affairs, important issues - stories citizens need to know. After all, stations owners pay nothing for the licenses the public gives them to broadcast over the airwaves the public owns. But if you believe that, you'd be wrong.
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In depicting the world of local TV news in Los Angeles, Gilroy has created a kinetic joyride that surfs a giddy wave of dark wit and intelligence.
Jake Gyllenhaal's Leo Bloom in Nightcrawler is as creepy as the movie's title suggests. A bug-eyed loner who preys on the