The Killer

Fassbender and Fincher have crafted a cold and very slick thriller. It's incredibly unique and in many ways, brilliant. It will certainly not be for everyone and it should not be categorised as an action film.

David Fincher's directing is as crisp and precise as always. The cinematography is great and the film looks incredible. It's technically sound and visually stunning with its cold contrasted shots. Fassbender is as brilliant as always and commands the scenes.

BUT, my brain cannot seem to accept the simplicity of the story. I expected something completely different from this and i really believe that the synopsis provided is misleading. It does not feel like there are any stakes in this film nor character development and under no point is there serious danger. We get a brief (cliche) incident to get us started and then it is monotone the rest of the way, much like the protagonist. Maybe there's a hidden, beautiful parallel to that, i dont know.

I feel like i need to watch this again with a different mindset because it's not what i expected or what was advertised.

Despite my complaints, i liked this movie. I just wish the story and action sequences had been expanded a lot more. It's worth a watch, just not the watch you're expecting.

"Execution is everything"

is the tagline of The Killer and makes for a perfect meta-commentary that connects the essence of the film with the life's work of its director.

David Fincher is as meticulous in his filmmaking craft here as his main character is in his professional craft. The Killer could become the new handbook for "how to make a perfect looking film". A picture put on canvas, so thoroughly thought out and taken care of, I couldn't help myself while sitting in the theater but marvel over its execution and attention to detail. I literally had Goosebumps half the time because I was so gripped by the atmosphere and beauty that unfolded in front of me. Perhaps Finchers most meditative piece. Fincher delivers his dark and gritty tendencies in familiar fashion, but this time slightly more reserved and introspective. With scalpel-like accuracy he carefully constructs a gripping character study that tackles the addictive nature of a personal vendetta as well as the mental sanity and emotional control needed to remain successful and alive in this line of work. A constant heartbeat within the sound design, the effortlessly rythmic editing and the hauntingly calm narration from Michael Fassbender, who acts as methodically meticulous as David Fincher directs. A man who will so easy take a life, and the unpredictable and tense nature of this subject matter make for a shockingly effective and nerve-racking experience.

What a streak of cinema, my favorite directors all come out with new work, my film heart is full.

The definition of a good thriller is that the plot should be slick and smart. That means the film is edited in such a way that it follows the narrative closely without a lot of extra fluff. It also means all the characters in the story act like real human beings and make logical decisions. One thing I have found about David Fincher is that he has OCD when it comes to details. The details are presented in an intelligent fashion. In this film, the details can be straight forward or logical when it comes to the plot. Fincher tells the story through cutaways, insert shots showing the little details that explain our main character's actions. For example, early on when the Killer (who remains unnamed) loads a magazine into his gun, it takes no less than three cutaways to accomplish this.

The opening act has a voyeuristic perspective, akin to "Rear Window" as we slowly get into the Killer's head through voiceover. The first act has an almost hypnotic quality as we study his situation, vigilantly maintaining a stakeout over several days, waiting for a mark. Filmmakers need to be careful when using voiceover, as it sometimes can be a conceit. Usually you try to tell the story through visuals. Here, the majority of the voiceover remains in the first act. Then through the rest of the film, bits we heard earlier are repeated at key moments during the film. My reaction is that these extra VO drops were unnecessary, but also act as a disruption. His train of thought in these moments is confronted with an unanticipated setback.

Finchers adds a couple touches of humour. I have stated in another review how important it is to find the right amount of humour to an otherwise serious drama. Too little and the drama starts to get stiff. Too much, and you are being removed from the reality of the situation. Fincher keeps the humour to a minimum, compared to one of his peers, Steven Soderbergh. Soderberg excels in this genre, with films like "Out of Sight" and "Haywire". The latter also includes Michael Fassbinder, the pro/antagonist in this film. All the supporting characters this film are almost cameos, but all are excellent.

The story remains focused on the Killer, never really revealing the greater plot, or what to anticipate as we follow the Killer through his agenda. But again, this is smart scriptwriting because it respects the audience's intelligence, who can easily fill in the blanks. Another staple of the Thriller genre is globe-hopping, James Bond style. The film is constantly on the move, as our main character travels from one airport to another. It is also adds the extra element of realism by shooting mostly on location (save for some interiors). The moments of action are well done. There are "Bourne" like moments with the action scenes, but not as frequent.

The film, because it is a singularly focused story about the Killer and a job gone wrong, has a generally small scope. The actions of the Killer are pretty straightforward, and there are no real twists. I appreciated that lack of multiple subplots, too many scripts try to overachieve and can become confusing by throwing too many side characters or too many twists. The slim story could be a drawback if expectations were higher. However, Fincher is very skilled at drawing you into the workings of clandestine activities with his meticulous cutaways (sometimes he'll shoot 70 takes to get a shot right). This precision matches the Killer's precision in resolving his issues.

There is only one gimmick that made me groan. Everytime the Killer presents an ID at an airport or rental car place, we see his alias is the name of a well known sitcom character. This is a cute moment of humour, but in reality would be a very stupid thing for our smart assassin. One doesn't even need to be of the 70s generation to recognise these well known character names (Sam Malone, Bob Hartly, Felix Unger, Archibald Bunker, etc,). Reruns of these TV shows run on digital side channels and on streaming services, so younger generations would also be able to recognise these names. If there is a security agency (like Interpol) looking for him, once they link a sitcom character's name to the Killer, they can easily search for other fictional sitcom characters to try and track him.

Ultimately, I sat through this procedural with rapt attention, with the tight editing and intriguing spycraft providing the momentum. With the opening titles resembling the quick montage of action shots and graphics like "Mission Impossible", it set expectations appropriately. One of the better thrillers made recently, it rises above other movies like "Equalizer 3" (which left me wanting). Not as big in scope and story as "Fight Club" or "Zodiac", but entertaining as "Se7en" and his outstanding TV series "Mindhunter". 7 out of 10.

This movie is perfectly fine. It is so perfectly fine, that I can´t think of a single explicit point of criticism at all. However, i can´t think of anything that made it particularly great either. It is too clean. Meanwhile that is the point of the movie. It is about a man whose entire life revolves around minimizing errors, being in control, and following a set of internalized rules without emotions ever coming in the way. And it is an interesting idea to see a hitman treating the profession of violently murdering people as just another repetitive 9 to 5 job, that you just have to get through day after day. But when it comes to telling a compelling story, that is a bit of a problem. Because what generally makes movies stand out - even thrillers like these - is the ability to get people emotionally invested, to have them feel with the characters. This is explicitly not, what is happening here. There is not a single emotion in this movie. It is kind of about revenge but not really. You are just watching a man go through his perfected way of getting his job done and this job just so happens to be killing people who show varying degrees of innocence. We don´t even know anyone´s name. There is however one amazing fight scene that has one of the best choreographies that I have seen in Hollywood in a long time and which had me at the edge of my seat for at least five minutes. Irnoically, this is also the only scene where the character decides to not follow his set of rules and ignores the fact that he might be a little bit too emotional to perfectly execute his task. And it is the most gripping scene of the movie. Maybe that means something...

7/10.

It's well compiled. The narration got me invested. Shot beautifully, the suspenseful music is excellent. The movie as a whole is...yeah it's fine? It lacks depth and some scenes lack logic as well. It makes for a fun watch nevertheless. Better than most of the stuff going around these days. A one time watch and you never think about it again kind of a watch. Not Fincher's best but not his worst either. Fassbender is decent in his role portrayed as a mysterious killer who has a knack for everything pretty much. Solid punches to the face by a guy twice his size does not faze him at all. That's about it really.