Directed by:
David FincherScreenplay:
Andrew Kevin WalkerCinematography:
Erik MesserschmidtCast:
Michael Fassbender, Tilda Swinton, Charles Parnell, Arliss Howard, Kerry O'Malley, Sala Baker, Sophie Charlotte, Endre Hules, Monique Ganderton, Daran Norris (more)VOD (1)
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After a fateful near-miss an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal. (Netflix)
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Reviews (10)
Perhaps Fincher's most meditative film to date, the music calmly throbs throughout, like Fassbender's assassin at the beginning, patiently waiting for his shot, mindful of his heartbeat and, like almost the entire film, going nowhere, repeating to himself with obsessive care, "Stick to the plan.... don't improvise." And that's exactly what Fincher does, thoughtfully, with the precision of a Swiss watchmaker, layering one carefully composed scene after another, and seemingly, unwittingly, imprinting himself on Fassbender's character as well. Early on, after a botched murder, the man in question thinks "Fuck, this is the first time" and I could see Fincher having similar thoughts flying through his head after the mixed reception of Mank. And it's as if they were both chasing perfection, where failure is unforgivable. Something was missing in the rating and Fincher was not to blame. Perhaps I was expecting something more thought-provoking from Walker's script (8MM remains unbeaten), perhaps a better ending and not the shallow point at the end, including the few idyllic shots that are really flat. Anyway, precise Fincher ..... precise Fincher is back!, just the way we like it. Only that Andrew K. Walker guy picked a weaker moment.
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Stick to the plan. Anticipate. Don’t improvise. Trust no one. Moving close to a competitor in the field like Anton Chigurh, he would sit across in a chair and say his piece: "If the rules you followed brought you to this, what use were those rules?" But does the emotionally detached android David even adhere to his own rules when showing weakness? Is missing the target and pretending to follow the motto "I. Don’t. Give. A. Fuck." just a lie he tells himself? Sarcastic voiceover commentary, stark methodical content, a fitting coldness in form, and Fassbender’s performance, which leaves the great grizzly cowering in its den for the rest of its life. The question remains: who is the great grizzly? Best scene: The Last Supper of Tilda Swinton.
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Since David Fincher started collaborating with Netflix, it seems like he's been making whatever he wants, and it's clear that this isn't working out. With The Killer, it feels like he was determined to make a movie about a murderer, a subject he enjoys exploring. However, the result is that Michael Fassbender spends more time narrating than actually acting. Plus, nothing really happens. The film lacks any real emotion. Sure, it's technically proficient — coldly proficient, in fact —but that's about it.
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The long-awaited film by master craftsman David Fincher (especially with the script written by the mind behind Se7en and Michael Fassbender as the lead) had high expectations. So, could anything possibly go wrong? Fortunately, there were no significant creative missteps from the team, so the film offers a certain level of quality. The Killer maintains a very cold and detached tone throughout (as is typical with Fincher), so don’t expect an emotional rollercoaster. Personally, I appreciated this approach. Presenting the story of a meticulous hitman in this manner feels like a safe bet. The plot benefits from impeccable storytelling (Fassbender's monologues were incredibly engaging) and a polished audiovisual presentation (the change of scenery in each chapter was a nice touch). The soundtrack also made a significant impact at times. As for the action, it's not abundant throughout the nearly two-hour runtime. However, the visceral fight scene in the middle of the film is one of the best I've seen in the genre for a long time; only Jason Bourne might offer a comparable experience. Overall, everything worked out well, except for the ending, which was, at best, peculiar. So, I give it a solid 7.5/10.
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No one is special. We are all mere aberrations, but otherwise we are all basically the same. Fincher's philosophizing assassin explains the importance of overcoming boredom and the benefits of diligence. I've never seen a more relaxed and serene opening. It's a balm to the soul and a throwback to the early days of Dexter. Fake smiles, at McDonald's or at an airport counter, Fassbender's emphasis on minimalist, spare and slow speech and a thoughtful, planned out life that goes out of whack at one key moment. Andrew Kevin Walker adapts a comic book about method and the importance of staying on top of things. Fincher chooses to repeat the rules, but they're often broken, to emphasize the hero's inner turmoil, but it doesn't affect his effectiveness. A melancholy quest for revenge seems to be the opposite of John Wick, yet it offers one of the most intense fights between two very different killers, supported by Reznor’s and Ross' restrained (as usual) soundtrack. Emotionless, yet absolutely precisely realised. It is the absence of emotion or some unexpected finesse that prevents The Killer from being anything more than a precise and cool study of people who simply, don't give a... Fuck!
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