A David Fincher film is always an event. With his infamous reputation for perfection and requesting, he has earned what every aspiring filmmaker wishes for: the proper time to get every element right. There's always glee and eager anticipation seeing his latest, knowing the film is in the reliable hands of a strong director.
For The Killer, David Fincher brings his trademark eye for detail, delivering an arthouse action thriller that moves with clockwork precision with its smooth camera moves and sharp edits, oozing cinematic coolness to the point of being completely cold.
Returning to acting after a 4-year hiatus doing F1 racing, Michael Fassbender fits his performance like a cog to a well-oiled machine. He acts through body language and voiceover, wryly playing a version of the director as a meticulous monologuing professional hitman who strictly abides by his own set of rules.
The Killer doesn't deliver the action thrills of a Jason Statham film or the psychological study in Collateral. It's in between and it rests on the audience to color in the meaning behind everything.
Is The Killer a deconstruction of the lone assassin film? Is it subverting all its tropes? Or is it a character study? Is Fassbender's killer even a sociopath?
Andrew Kevin Walker, the writer of Se7en, puts the audience in the assassin's head through an inner monologue, as he recites his rules and muses negatively about humanity.
The script doesn't provide a character to care about or even like. There's a particular moment when Michael Fassbender says "Hi!" like a normal person and it's darkly comic. For the common viewer, this can easily be an empty and cold experience.
The meaning I gleaned from the film, was the irony between what people say to themselves to create their identity, code or philosophy and how real life, indifferently by and chaotically, puts that to a test.
The technical details are what make this film.
It's the day in the life of an assassin, showing the mundanity of waiting for the perfect moment for the kill shot, the routines to stay incognito, the neat safe rooms, the dozens of passports in ziplock bags...
The decor of Michael Fassbender's home was striking, a big hollow living room with billowing veils where every corner is immediately visible.
The climatic hand-to-hand fight was impressive, well choreographed and shot. The moves had weight and the audience could feel the pain.
Zodiac is still Fincher's best film, as it has everything that he does best, making little factual on investigative details hugely significant and great natural performances chiseled from tiring the actors after multiple takes-I do wonder how many shots in Fincher's films are, in fact, the final take.
With Mank and The Killer, David Fincher seems to be entering a new phase of pursuing smaller niche topics experimentally and having cinematic fun for himself. Comparatively, The Killer seems like a fetishizing of obsessive compulsive behavior.
The best way to enjoy The Killer, I think, is to follow suit. Be OCD for 2 hours and see how many little details you can spot.
For The Killer, David Fincher brings his trademark eye for detail, delivering an arthouse action thriller that moves with clockwork precision with its smooth camera moves and sharp edits, oozing cinematic coolness to the point of being completely cold.
Returning to acting after a 4-year hiatus doing F1 racing, Michael Fassbender fits his performance like a cog to a well-oiled machine. He acts through body language and voiceover, wryly playing a version of the director as a meticulous monologuing professional hitman who strictly abides by his own set of rules.
The Killer doesn't deliver the action thrills of a Jason Statham film or the psychological study in Collateral. It's in between and it rests on the audience to color in the meaning behind everything.
Is The Killer a deconstruction of the lone assassin film? Is it subverting all its tropes? Or is it a character study? Is Fassbender's killer even a sociopath?
Andrew Kevin Walker, the writer of Se7en, puts the audience in the assassin's head through an inner monologue, as he recites his rules and muses negatively about humanity.
The script doesn't provide a character to care about or even like. There's a particular moment when Michael Fassbender says "Hi!" like a normal person and it's darkly comic. For the common viewer, this can easily be an empty and cold experience.
The meaning I gleaned from the film, was the irony between what people say to themselves to create their identity, code or philosophy and how real life, indifferently by and chaotically, puts that to a test.
The technical details are what make this film.
It's the day in the life of an assassin, showing the mundanity of waiting for the perfect moment for the kill shot, the routines to stay incognito, the neat safe rooms, the dozens of passports in ziplock bags...
The decor of Michael Fassbender's home was striking, a big hollow living room with billowing veils where every corner is immediately visible.
The climatic hand-to-hand fight was impressive, well choreographed and shot. The moves had weight and the audience could feel the pain.
Zodiac is still Fincher's best film, as it has everything that he does best, making little factual on investigative details hugely significant and great natural performances chiseled from tiring the actors after multiple takes-I do wonder how many shots in Fincher's films are, in fact, the final take.
With Mank and The Killer, David Fincher seems to be entering a new phase of pursuing smaller niche topics experimentally and having cinematic fun for himself. Comparatively, The Killer seems like a fetishizing of obsessive compulsive behavior.
The best way to enjoy The Killer, I think, is to follow suit. Be OCD for 2 hours and see how many little details you can spot.