David Fincher seamlessly marries his thrilling advertisement genre with the actioner when it is premised around existential thought. The Killer is based on a French graphic novel by Alexis Nolent that has illustrations by Jacamon. It focuses on an assassin who is out for revenge all over the globe. It would have been regarded as routine plot material however the way it is risky executed raises it onto a whole new level. Throughout the film there is a persistent over-the-head narration, as it is often the case is a clumsy script. But in this case, it is gently rendered by a suicidal observer of how he torments people with his presence, while most action events in the film develop around the dynamics of the characters, as well as the strong X-MA violence and the best soundtrack ever made.
The bulk of the second act is a rapidly cutting sequence of various airports, rapid changes of passports and hotel rooms, all coupled with a nervous sensation of being watched on every corner. Then the unaffordable loss takes on a personal dimension. That kind of condition cannot exist and must be dealt with at any cost that is, in the mean time, the next transformation step for our Killer is a change of what a chameleon does.
Si algún día el cineasta se amarga -lo que sería triste-, se va a dar cuenta que tiene que despersonificarse y verdaderamente averiguar que fue lo que pasó, donde se equivoco, es en esta etapa que parte de su ira empieza a apoderarse de los bordes. Pero él es sabio, que es su equivocación más grande. Debería permanecer detallado y calmado en su adentro.
Fincher (Fight Club, Panic Room, The Girl with the Dragon Tattoo) nunca pierde la mirada sobre Fassbender, el Killer es el que va al centro en todas las escenas aquí, es como si se viñera observando a un tigre cazando en medio de la manada. A veces hay que atender a estar tendido en el pasto, pero tener preparado para ser flexible al momento en que la antílope pase. Al no haber titubeos después de haber sido fijado cada objetivo y ataque, rapidez y gravedad son invariables en situaciones rápidas de alejarse. En ocasiones, David Fincher se aproxima amenazadoramente o hace contacto directo con la víctima, otras, se aparecía: Vas a morir; si eso va a ser rápido y sin dolor, depende de cuanto colabores.
Trent Reznor and Atticus Ross have outdone themselves in scoring this film once again (joke intended). It reminds one of their contributions in Fincher’s The Social Network and Gone Girl: grinding sounds, electronic drone — malicious stuff all around; nothing uplifting, symphonic, or elegant in a way that would enhance your mood — more like a sonic trap crafted by Reznor and Ross around Fassbender’s cold calculations of disloyalty and treachery… off go the volume back into The Smiths as thudding fists and splintering bones accompany the sound of passing bullets…
There will undoubtedly be viewers who will absolutely detest The Killer. It proceeds in a manner one anticipates it would (there are no cliffhanger shocks and no plot turns, but then again they are not exactly warranted considering the screenplay and purposes of the film). He’s not all that innovative by the end but has great style and kicks major ass.
The film is produced by Plan B/Boom! Studios/Panic Pictures. It was shown within the 61st New York Film Festival as one of the entries.
Watch Free Movies on o2tvseries