“Execution is everything.” These three words form the slogan for The killer, a new thriller starring Michael Fassbender in the lead role of a cold, calculated assassin. It is directed by David Fincher, who has directed some of the most famous films of all time, including Se7en, Fight Club, The Social Network and Gone Girl. The main character, known for his meticulous attention to detail and precision in storytelling, appears to be modeled on Fincher himself. While “The Killer” provides insight into Fincher’s masterful direction, the film ultimately falters in some areas and leaves a mixed impression.
One of the standout aspects of “The Killer” is Fincher’s calculated direction and camera movements. Anyone who has worked with Fincher knows how meticulous he is, creating an exhaustive number of takes for the same scene. He’s a genius – a psychopath, but an absolute genius. The camera work is consistently precise and visually appealing. Fincher’s signature style is evident in every image and his ability to create tension and atmosphere in every moment. His talent for building tension through framing and pacing shines through in this film, even if this is one of his more inconsistent attempts.
The lighting and framing in “The Killer” are impressive. The dark and atmospheric images perfectly complement the dark and mysterious tone of the narrative. Fincher’s use of shadows and low-key lighting heightens the tension and unease and adds depth to the film’s atmosphere. The framing is also impeccable, capturing the audience’s attention and guiding them precisely through the story.
One of the most unique and daring aspects of The Killer is its decision to maintain a perspective based almost entirely on the title character. This choice offers a fascinating insight into the mind of a professional assassin. It allows the audience to see the world through the killer’s eyes and highlights his methodical approach to his deadly work. This perspective offers a fresh and unconventional narrative experience and adds complexity to the film. This also applies to the sound design, where the music the killer hears changes volume depending on the shot.
However, “The Killer” also has some disadvantages. One of the biggest problems is the film’s tendency to be boring at times, largely due to the overuse of narration. While Fincher used voiceover effectively in Fight Club, it doesn’t work as well here. Most of the killer’s thoughts and actions are expressed through an internal monologue, and most of the time it feels like we don’t need to hear him. Sometimes it feels like the tension would be even greater if we didn’t hear the killer’s voice through everything we see.
The script of “The Killer” also leaves a lot to be desired. It’s a familiar revenge story that lacks the depth and emotional resonance that a story like this should have. The premise sounds familiar from films like “The Fugitive” and “Without Regret”. The characters, including the titular killer, are somewhat one-dimensional, leaving little emotional opportunity for the audience. Many of the people the killer meets throughout the film only have a very short time on screen. The film’s potential to explore moral dilemmas or complex character developments is wasted in favor of a more straightforward, if less compelling, narrative.
There are great moments throughout the film. At times it feels like we’re watching Fincher’s first real action film, with a perfectly crafted motorcycle sequence that transports you into his mind. There’s well-timed, clever humor and very deliberate product placement throughout. However, the emotional core that drives the killer is missing, and at times it feels like we’re watching another version of The Equalizer. It’s strange how a Fincher film can seem so conventional, and yet his style is anything but. His lighting and framing are perfect, but there’s not much that takes us beyond his remarkable talent behind the camera.
Despite the film’s flaws, The Killer manages to maintain a certain level of intrigue and tension throughout its running time. The occasionally dull moments and unremarkable script are offset by Fincher’s stylish direction and exquisite color palette. The film’s strong visual elements and atmospheric cinematography create an immersive environment for the story to unfold. I wish it would evoke the audience’s emotions more than it actually does, and I wish it would lead to something bigger.
The Killer is a testament to David Fincher’s impeccable directing skills, particularly in terms of cinematography, lighting and framing. However, the film is hampered by its interminable narrative, a mediocre script and its adherence to a revenge story that has been seen much better. While it doesn’t match the quality of some of Fincher’s previous works, it still offers a stylish and occasionally exciting cinematic experience. For fans of the director’s distinctive style, The Killer may be worth a look, but for some viewers it may leave you wanting a deeper and more emotional story.
SCORE: 5/10
As explained in ComingSoon’s rating guidelines, a rating of 5 corresponds to “Medium”. The positive and negative aspects negate each other and make it a wash.
Disclosure: ComingSoon was at the New York Film Festival for our The Killer review.