David Fincher, known for his dark and gritty films, is back with his latest project, “The Killer.” Adapted by longtime collaborator Andrew Kevin Walker from a graphic novel written by Alexis Nolent and illustrated by Luc Jacamon, this crime thriller revolves around an unnamed assassin played by Michael Fassbender.
The killer in “The Killer” is not your typical ruthless assassin. He is more affectless and detached, almost like a shadow. His face is constantly hidden under a cheap bucket hat, as if he wants to remain invisible. The cinematography, done by DP Erik Messerschmidt, further enhances this sense of anonymity as his face disappears into the darkness.
The story takes an interesting turn when a hit in Paris goes wrong, forcing the killer to vary his usual routine. This leads to a retro, location-hopping genre exercise filled with fisticuffs, gadgets, and smooth-talking antagonists. It’s like a tongue-in-cheek spoof of James Bond movies, but with a more amoral anti-hero. The ending sets up the possibility of a franchise, which is something Netflix, who is working with Fincher again despite the cancellation of his series “Mindhunter,” could potentially explore.
“The Killer” subverts expectations, presenting itself as an anti-Bond film. The killer’s costume choices, designed by Cate Adams, stray from the typical assassin clichés. Instead of dapper tuxedos or disguises, he dresses deliberately boring, usually in shades of beige or cream. His deadpan voiceover, reminiscent of Fincher’s “Fight Club,” explains his intention to look like a German tourist in Paris, as the French tend to avoid them.
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One distinctive aspect of the film is the killer’s mundane routine while waiting for his target in Paris. Rather than swooping in at the perfect moment, he spends days staring out of his rented apartment’s window, doing yoga, and listening to The Smiths. The band’s music, along with the atonal score composed by Trent Reznor and Atticus Ross, creates an unsettling soundscape, perfectly complementing the killer’s actions.
As the story progresses, the killer’s motivation shifts from completing his assignment to seeking revenge for the harm inflicted on his partner, Magdala, played by Sophie Charlotte. The film follows him as he hunts down those responsible, showcasing his wit and fastidiousness in eliminating any traces or witnesses. However, the lack of investment in the killer’s relationship with Magdala makes her suffering feel like collateral damage in a personal vendetta.
Each encounter presents empathy tests for the killer, challenging whether he will soften or remain cold-hearted. These tests involve deciding whether to kill an office administrator, spare the life of a pit bull, or show mercy to a rival assassin known as The Expert, played by Tilda Swinton. The killer’s unpredictable choices keep the audience on edge, blurring the lines between right and wrong. While this may not satisfy some viewers, others will appreciate the film’s unapologetic and morally ambiguous approach.
“The Killer” is not just an action-packed thriller; it also explores existentialist themes. The killer believes that there is no luck or fate; one’s life path is solely determined by their past actions. This philosophy aligns with the mid-century modern vibes and references to Jean-Pierre Melville’s classic film “Le Samourai,” adding a layer of depth to the story.
In conclusion, “The Killer” is a wry and efficient crime thriller that showcases David Fincher’s signature style. With Michael Fassbender in the lead role and a compelling story that challenges conventional expectations, the film keeps viewers hooked until the very end. Although its moral ambiguity and unconventional approach may divide audiences, it’s an intriguing exploration of the nature of assassins and human choices.
