David Fincher can bring his thrilling auteur vision to a procedural actioner full of existential philosophy. The Killer, an adaptation of Alexis Nolent’s French graphic novels and illustrated by Luc Jacamon, follows an assassin on a global mission for revenge. The story is standard genre fare but the execution takes what could be a simple narrative into bolder territory. The Killer features constant voiceover narration, usually the sign of a weak script; however, here it comes from an intensely introverted protagonist who talks through every little detail about how he kills people — while there are still many fascinating dynamics between characters throughout this film along with some really brutal violence set against one hell of an amazing score which will keep anyone glued to their seat!
The second act of The Killer is a whirlwind escape through airports, different passports, hotel rooms and the near-paranoid fear of being followed. Then the worst-case scenario becomes personal. A situation that can’t be allowed to continue must be made right at any cost — which means that next, for his next transformation, our Killer has to become a chameleon. He needs not only to be someone else but to really investigate what happened, where he went wrong, it is in this stage that some of his anger starts getting through the cracks. But he knows that’s his biggest mistake. He should stay dispassionate and focused.
Fincher (Fight Club, Panic Room, The Girl with the Dragon Tattoo) never takes his eye off Fassbender; the Killer is front and center in every scene here; you might as well be watching a tiger stalking prey in a herd. Sometimes you’ve got to lie down in the grass but have your limbs ready to go limber when that antelope comes by. There’s no hesitating after each objective has been met: speed and severity are crucial for quick getaways. Sometimes Fincher walks menacingly toward or directly confronts a victim; sometimes he just shows up: You’re going to die — whether it’s quick and painless depends on how much you cooperate.
Trent Reznor and Atticus Ross have done another killer job with their score here (pun intended). It recalls their work on Fincher’s The Social Network and Gone Girl: grinding noises, electronic hums — sinister stuff all around; nothing symphonic or elegant meant to lift your spirits here — rather more like a sonic snare of darkness and betrayal crafted by Reznor and Ross especially around Fassbender’s cold calculations… then pump up the volume back into The Smiths rocking as bullets fly while fists shatter bones…
There will be people who don’t like The Killer. The story plays out as you expect it will (he doesn’t drop any bombshell reveals or twists, but that’s not necessary either given the source material and cinematic intent). He wins style points and kicks major ass but he’s not, in the end, original.
The film is a Plan B/Boom! Studios/Panic Pictures production. It was screened as part of the 61st New York Film Festival.
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