David Fincher’s new film The Killer explores his style and demonstrates his cinematic influences. This film features an incredible lead performance from Michael Fassbender, with a story broken into chapters that tell of a location and the focus of Fassbender’s character, who is simply credited as “The Killer”.
The opening sequence takes us to Paris, where Fassbender waits for his target to arrive. This sequence is reminiscent of Hitchcock’s Rear Window, as the killer takes in his view and the people in the space. It’s an interesting way to open a film about an assassin, as it’s mostly him waiting, which matches the voiceover narration. For some, this sequence may feel slow – but Fincher is setting the tone and style, and it’s a great introduction to the character.
The film is relatively small, with few characters on screen. However, each performance is memorable. Tilda Swinton, Charles Parnell, Arliss Howard, Kerry O’Malley, Sala Baker, Sophie Charlotte, and Gabriel Polanco round out the other major characters…but most just get a few scenes. Despite this, their presence is felt in big ways, and the two most memorable moments belong to Swinton and Baker.
Swinton and Fassbender spend the most time together and feature most of the film’s dialogue. It’s such a compelling sequence – largely in part to the two actors. Swinton’s presence is almost always exceptional, but there is something extra special with this performance. There is a quiet game of cat and mouse happening that other filmmakers would have probably pushed too big. Instead, it’s a quiet and subtle back-and-forth that builds to a satisfying conclusion.
Then, there is the total opposite of this sequence with Baker and Fassbender. While this movie isn’t action-packed, this segment is. The fight is visceral and so the cinematography in this sequence changes and has a few handheld moments that are shakier than those usually associated with Fincher’s style. Yet, the impact of the choices is validated by the brutality of the fight. It works both for the needed action and the insight into the killer’s skill set.
This is one of those films that will definitely be rewarding on additional viewings. Fassbender’s character constantly justifies why he is the way he is, restating mantras about empathy being weak, and what it takes to be an assassin. He undoubtedly has a cold and calculating quality that mirrors Fincher’s stories and analysis. This very well could be a movie like Inception, which is actually about the filmmaking process. However, I’m not confident enough in that interpretation after just one viewing.
The Killer is another win for Fincher, an expert craftsman with a twisted sense of humor. There is a lot to take in, but the ride is fun just on the surface. If you’re looking for an action-packed assassin movie, this isn’t it – but if you’re interested in a compelling character study in the mind of a killer, then you, too, will like it.
The Killer will be in select theaters on October 27 and on Netflix on November 10.
Rating: Must See
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