The film “The Killer” was helmed by director David Fincher and written by Andrew Kevin Walker, who previously collaborated on the acclaimed movie “Seven.” “Seven” happens to be one of my all-time favorite films, and it stars Michael Fassbender.
In “The Killer,” an assassin finds himself entangled in a high-stakes international manhunt, battling both his employers and his own inner demons. Despite insisting that it’s not personal, the assassin faces numerous obstacles that challenge his meticulous nature.
As a filmmaker, I have always admired David Fincher’s work, and this film perfectly showcases his precision and attention to detail. It’s been a long time since I’ve been this excited to see a new Fincher film in theaters, as my last experience was with “Gone Girl” in 2014.
I have learned so much from studying Fincher’s films over the years, and his ability to create tension and maintain precision is truly remarkable. One interesting technique employed by Fincher in the film is the prominent display of brand names such as Amazon and Postmates, as well as sleeping medications.
It struck me as a commentary on how easily a killer can manipulate the system and utilize everyday items accessible to all of us to commit murder. Our reliance on the convenience and simplicity of technology could inadvertently make it easier for someone like Michael Fos Bender’s assassin to target us.
The film’s moral ambiguity may also challenge viewers, as he kills a significant number of people, including unexpected individuals. Throughout the movie, the main character repeats a mantra to himself that involves saying he has no empathy, yet he makes choices that seem to reflect someone who does have empathy.
After a mission goes wrong, he goes on a path of revenge, which is in direct contradiction to his mantra. He cares enough about something that happens early on in the film to take a lot of risks and kill a lot of people who did him wrong in a certain way.
He’s a fascinating character, but also frustrating because he’s so intent on being precise and calculated while not caring about anyone. This contradiction could be viewed as the film being in conflict with its main character, but it’s more likely intentional and not something the writer and director overlooked.
Fincher and Walker may not be endorsing the actions of the assassin, unlike concerns raised about Todd Phillips and Joaquin Phoenix’s Joker movie. However, Fincher’s apparent preoccupation with cynicism and nihilism is evident.
a character who lacks belief in anything or anyone except for his threatened home life, which is only briefly shown. This is my main issue with the film: the brevity of witnessing his home life and the idea that something happens to someone he cares about, leading him down a path of revenge.
While there are numerous examples of movies where a character seeks revenge after a personal tragedy, what sets this movie apart is the minimal time spent establishing the emotional wronging that motivates the protagonist.
In contrast, films like James Wan’s Death Sentence, starring Kevin Bacon, invest significant time in setting up a happy family before the tragedy occurs. The movie in question does not attempt to make the audience sympathize.
With the main character, who ruthlessly kills a series of people in a methodical way without revealing much about his motivations. This lack of emotional connection is a risk that mostly pays off, as it hammers home just how dangerous it is.
And unpredictable the character is. The closest the character gets to an act of goodwill is killing someone in a way that won’t traumatize their children. Despite not mentioning it earlier, the camera works.
And the cinematography is essentially perfect, making for an absolutely gorgeous movie. The sound design is also noteworthy, as the audience hears the music in 7.1 surround sound when in the main character’s point of view.
From his perspective, we are now observing him. The sound is being transmitted through the headphones, and whenever the camera angle changes, the sound is heard from wherever the headphones are placed in the room.
This meticulous sound design is present throughout the entire movie, whether we are inside his car and hearing the heater, or outside the car and then back inside, with the sound moving around.
The film’s sound design is praiseworthy, and the actor Fos is perfect for the role. Tilla Switt also delivers a fantastic sequence. However, as with most David Fincher movies, the true star is Fincher himself, with his swift, sleek, and innovative direction.
While the story itself may not be as innovative as his filmmaking techniques, it is still fascinating to watch. The film makes a risky choice by making the lead character a killer who goes about his day, but I was pleased to see it in theaters, even though it will also be available on Netflix. I encourage you to try and find a theater showing it. Thank you.