Do you know the Kreplach joke? A child hated this typical Jewish recipe and his mother showed him how to make it. The ingredients were delicious: a pancake, a meatball, a dumpling…, he applauded enthusiastically, but when he saw it was ready, he screamed in horror: “Aaaaah, kreplach!” Lots of juicy ingredients don’t guarantee a good dish. We can cook Fincher, Fassbender, Swinton and Arliss Howard – I still long for the hermetic and fascinating Rubicon – seasoned with an exciting theme like Killer, and when we taste it we are horrified: Aaaaah, The Killer!
Although Netflix classifies it as a drama, it is unintentionally a comedy. Cast-wise, it’s hilarious. In what universe would Michael Fassbender go unnoticed? And it asks too much of a fictional pact. How long would it take for residents of a posh Paris neighborhood to call the gendarmerie if someone was staying overnight in an office under construction? The sentences of a cryptobro who reads Marcus Aurelius and thinks about the Roman Empire between CrossFit classes and Bikram yoga border on parody: “Empathy is weakness. “Weakness is vulnerability.” This nihilism that worked in Fight Club seems ridiculous today, and even more so among men in their fifties. Just like the eternal monologues. It could have been filmed using WhatsApp audios. Everyone gives their speech, considers whether it’s enough for the Oscar for Best Supporting Actor, and leaves the forum. Note the ridiculous scene with Tilda Swinton at a restaurant table that is better lit than any other place, including the hospital. Cameramen’s obsession with increasing our diopters never stops. As if Fincher hadn’t shown with the ending of Seven that it’s possible to be afraid in the bright sun. I suspect that he wants to take revenge on Netflix for canceling Mindhunter with this inconspicuous work. He’s the guy who made The Game, nothing is too twisted for him.
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