A neat, dark, little thriller.
A professional assassin takes things into his own hands when a mistake turns his retainers against him.
Directed by legendary director David Fincher, and starring Michael Fassbender, The Killer is a short and understated thriller. It would seem I am not the only one who sees huge similarities to the hit video game series Hitman, developed by IO Interactive. It was released for Netflix in 2023, and dominated the top of the Netflix charts for a significant amount of time. Overall, yeah, it is a slow, methodical movie that has all of Fincher’s excellent attention for detail. It might not be for everyone, though.
The film opens with Fassbender’s unnamed assassin staking out of a target in Paris. A perfect viewpoint for a sniper rifle kill, but he has to wait for the moment. A methodical, monotone monologue carries over all of this. The assassin’s mantra and belief system. Coldly predetermined and driven by an emotional detachment. But when the job goes south, this assassin finds weapons turned toward him.
Fortunately, as an experienced assassin, he has the funds and the means to fight back.
Don’t misunderstand though, this isn’t a fast-paced action thrill ride. This isn’t a Bourne- or Wick-grade thriller. It is closer to 2025’s Black Bag (which also had Fassbender playing a similar character) but still more subdued. The movie follows our protagonist, like we are following a cat. Determining a target’s routine, looking for points of weakness and means of entry. The film is quite dark; a lot of the story taking place at night or dusk. But Fincher (director of Gone Girl, Zodiac, and Se7en) is no slouch when it comes to shooting at night. Everything is still wonderfully lit, and audiences can still understand where everyone is and what is happening.
Nine Inch Nail’s Trent Reznor provides the movie’s soundtrack, and is a perfect fit for this movie. A mix of grunge and warbling pressure and dissonance.
Maybe Michael Fassbender is becoming typecast, but he is excellent in these roles. The piercing eyes, the light but intimidating frame. His line delivery is ideal in moments of intense focus. A great deal of the film is quiet; other characters are fleeting. Often they are sheep meeting a wolf, when encountering him. Often scenes are mid-sentence before Fassbender appears; breaking the mundane and shaking reality. Everything becomes passive and on edge. This man could kill someone instantly if he wanted; he immediately becomes the centre of attention.
For a two hour experience, it went quickly. I could have used more, to be honest. Fincher breaks the movie down into chapters for ease of pacing and the lapsing of time. It might not be for everyone, especially if you go in expecting a lot of gun fights. There is one major fight, which is very gripping as the protagonist is seen somewhat out of his depth. Otherwise, we are watching the calculation and execution of a silent assassin’s work. Disguises. Timing. Equipment. Opportunities.
Overall, it is a neat little package. If you want to spend an evening with a moody thriller, you can’t go wrong with this. It has a little levity, it isn’t excessively violent – although the character is coldly executing people suddenly.
