“It’s amazing how physically exhausting it can be to do nothing. If you are unable to endure boredom, this work is not for you.” — The Killer
It’s been three years since David Fincher’s last streaming film, Mank, a technically impressive but largely forgettable release based on the life of the screenwriter of Citizen Kane. Since then, he’s also directed the Netflix series Mindhunter, and an episode of the Netflix show Love, Death & Robots—that’s a whole lot of streaming content. Not surprisingly, The Killer is also a Netflix film based on the graphic novel by Alexis Nolent and starring Michael Fassbender as the titular character. He plays a sociopathic perfectionist who happens to have more feelings than he would like to admit (oh, and he’s an assassin). The Killer also stars Tilda Swinton and Charles Parnell, but it’s more of a one-man show than an ensemble.
The first 15 minutes of the movie are a masterclass in how to make a David Fincher film, consisting almost entirely of inner monologue and a tense awareness that everything in this world is about to go terribly wrong. Fincher excels at portraying deeply disturbed characters that resonate with viewers on a personal level, for example, Gone Girl’s Amy Dunne and Fight Club’s Tyler Durden. It’s only fitting that this character, The Killer, goes on a long but fascinating philosophical rant in between staking out his target. It’s refreshing to watch an assassin film that isn’t just about the fighting but that prioritizes and studies the process before and after a kill.
The film is divided into parts, like a video game. Part one takes place in Paris; it’s ultimately the catalyst for the narrative conflict but also a deep character study on the methodical killer who must stick to the plan no matter what. His philosophy reveals nothing but the inner ramblings of a man driven insane by his work. Not unique, but apart from others, “kill or be killed”. He reveals his step-by-step process and proceeds to break all of his rules, dissolving the illusion that The Killer is the perfect assassin.
As expected, then, The Killer messes up this job, as he misses the shot and hits a bystander instead of the target in the apartment. His employers basically punish him, and The Killer travels around the world to get his revenge. All a part of his plan, no room for improvisation, he reminds himself. He wouldn’t like to admit that he’s driven by his emotions, and it’s certainly clear that audiences aren’t expected to empathize with his character. There are a few brutal kills that are unjustified in the eyes of the sane but perfectly normal for the slow, calculating killer on a mission.
His work is much more than this, though; it includes renting cars from Hertz and Enterprise, buying sandwiches from McDonald’s (no buns, please), and crafting the perfect garbage man disguise. Every assassin needs their one-day Amazon shipping as much as they need The Smiths—it’s essential in this modern age.
Besides that, the most impressive chapter of this story is The Killer vs. The Brute aka the Floridian. It’s the only fight scene and the most intense, nerve-racking sequence in the film. The cinematography from Erik Messerschmidt (Gone Girl) is absolutely delightful here. The camera tracks The Killer as he maneuvers through the Floridian’s home, desperately searching for a weapon to overcome the behemoth. Once again, he improvises and doesn’t acknowledge this. It’s bloody, violent, and pays off satisfyingly.
The film doesn’t have many lows, although, the epilogue is a bit sudden and rushed. It does leave the door open for a sequel (though it’s doubtful Fincher would come back for it). Still, The Killer is the most impressive Fincher release in years, and it marks a new high for the assassin genre. It’s well worth a watch.
4/5 Stars