scene of a roadside accident. A
van pulls up and out jumps Joe
Loder (Paxton), a freelance videographer who specialises in
documenting crime and accident
scenes, selling his footage on to
the highest bidder among the
city’s various news networks. Inspired by Loder, Bloom acquires a
police scanner and a second hand
video camera, heading out into
the LA night in search of ghoulish
footage.
Thanks to his narcissistic per-
en scene for the benefit of his
lens. He manipulates family photos on the fridge door of a homicide scene, and drags corpses under streetlamps to create a more
dramatic shot.
Benefitting from Bloom’s tactics
is Nina (Russo), a previously struggling news showrunner whose
career hits an all time high as
viewers tune in en masse, thirsty
for Bloom’s latest blood-soaked
segments. At first she encourages
Bloom, egging him on by describ-
A sociopath sells increasingly extreme crime
scene footage to a ruthless TV news producer.
sonality and lack of ethics, Bloom
quickly becomes the city’s top
footage finder, willing to cross
both police lines and moral lines,
not to mention breaking several
laws along the way. Hiring a street
kid (Ahmed) as his navigator,
Bloom acquires a knack of arriving
on the scene before the police, allowing him to rearrange the mise
ing her news show as “a screaming naked girl, running down a
street with her throat cut,” (a juicy
metaphor that Bloom takes all too
literally) but she soon finds herself
the victim of his ambition when
he blackmails her into becoming
his sexual partner, threatening to
take his footage to a rival network
should she spurn his advances.
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pg 45