The Killer is a return to form for David Fincher.
That may sound dramatic, but it has been nearly a decade since Fincher made a proper thriller.
His first collaboration with Netflix, Mank, was a fine film. But aside from its aesthetic, the film lacked substance. Now, with his second film with the streaming service, Fincher is back to his neo-noir roots.
While as thin as a comic book itself, The Killer is a haunting film that places the viewer in the mind of an assassin (or killer). Michael Fassbender's (practically) blink-less performance is top-notch. This is the type of comic book movie that we need.
The Killer review
Told across six chapters, The Killer is a rather simple story. The titular character (Fassbender) is an assassin who, after a job goes wrong, gets entrenched in a battle against his employers. The Killer is the vehicle that transports the audience from scene to scene.
Slowly, you're enlightened to the inner workings of the Killer's mind. “It's amazing how exhausting it is to do nothing,” he says during a stakeout. “If you can't endure boredom, this work's not for you.”
Once that job goes wrong, the pacing of The Killer instantly picks up. The first 20-30 minutes are almost entirely an inner monologue as he sets his sights on his victim. It's scenes like these that allow Fassbender to soar — as his glossy-eyed empty stares into the camera make it uneasy to watch. Meanwhile, he's equally as swift when putting his gun together. It's a frightening combo.
But that's because Fincher is telling a methodical story. There's no urgency because unlike most comic book films, The Killer isn't rushing to a third act climactic battle.
Each chapter brings a new location, from the Dominican Republic to the Big Apple. And yet, each one is framed with the same griminess that Fincher's other films such as Seven and The Game captured.
The complexities come in the cinematography (which is done by Mank DP Erik Messerschmidt). The camera movements often represent the Killer's mental state. Oftentimes, the camera is rapidly shaking, like when the Killer enters his house. He feels that something went down, and the terror he feels is portrayed through the shaky camera. The shaky camera technique is generally overused, but when it has a purpose, it lands.
Not a lot of action for a Killer
Despite its title, there's not a lot of action in The Killer. Believe me, once it does go down, it goes down. Fassbender has a fight with someone late in the film. They go through an entire Florida beach house before the fight concludes.
It's a visceral watch, and that's because Fassbender is overmatched — and it's clear. When you watch comic book movies, the heroes are oftentimes overmatched. But by the time the third act battle commences, the hero has built himself back up to beat his foe.
But the Killer is no hero; nor is he any match for the man he's fighting. This dimly-lit beatdown plays more like a fistfight featuring Daniel Craig's James Bond (who also was often physically overmatched) that requires Fassbender's character to outsmart his opponent (or just have better luck). It's one of the best action scenes in recent memory given its length and squeamish combat.
Nine Inch Nails singer Trent Reznor composed the score in collaboration with Atticus Ross. The duo has been a mainstay in Fincher's films since The Social Network. They've shown their versatility as their score for The Killer is vastly different than Mank's. It's a haunting score that requires the levity of The Smiths' music occasionally playing (the Killer can't concentrate with his daily dose of The Smiths).
A comic book-thin adaption
I suppose that Fincher is only one film removed from Gone Girl (which was released nearly a decade ago). Even still, The Killer does feel like a return to form. His work in the '90s — from Seven to The Game to Fight Club — all had a real edge to them. Yes, he has done dramas such as The Curious Case of Benjamin Button and The Social Network, but it's noir thrillers where Fincher really excels.
Fincher infuses his signature noir style when adapting this comic book. It's similar to how Dick Tracy brought a comic book to life — albeit in a very colorful manner. This time, the edge that Fincher brought to Zodiac is retained here. Perhaps it helps that the comic book series that The Killer is based on is also dark. Either way, he found a way to bring it to life.
Should you watch The Killer?
If you have skepticism about comic book movies, but love the work of David Fincher, The Killer is the ultimate combo. It's not the fast-paced dialogue-heavy legal drama that The Social Network was, nor is it the mystery that The Game was. The Killer finds its footing as a David Fincher joint first, comic book adaptation second.
The result is a stellar Michael Fassbender-led film that takes you on a journey through an assassin's mental state.
The Killer is not the comic book movie we deserve, but it's the one the genre needs.
Grade: A-
The Killer will be released on October 27 in theaters and November 10 on Netflix.
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