In “Velvet Buzzsaw” – Dan Gilroy’s third film in five years after “Nightcrawler” and “Roman J. Israel, Esq.” – art is a destination for curious eyes, eager wallets and ostensibly deep critique.
It’s also, eventually, a channel for horror, bloodshed and shlock. The contrast isn’t accidental, and the transition happens nearly as fast as it took you to get to this paragraph from the one above.
The general absence of subtlety in Gilroy’s film, a contemporary art-market satire drunk with a few drops of cinematic absinthe, makes parts of “Nightcrawler” feel like a PBS documentary. For better or worse, hyperbole is a way of the world in “Velvet Buzzsaw,” and even more so as it reaches the realm of violence. “I think sober hasn’t been good for him,” Jake Gyllenhaal’s faux-elitist art critic utters at one point. “Velvet Buzzsaw” doesn’t think so either.