Review: 'The Killer' Fails to Thrill with Lackluster Action

2023-11-10 21:20:04

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David Fincher is no stranger to weaving tales laden with gritty crime and disturbing narratives. His repertoire is drenched in the ominous, spanning from the depths of space in “Alien 3” to the darkened corners of a locked-down residence in “Panic Room”. He's explored the psyche of serial killers through films like “Seven,” “Zodiac,” and “The Girl With the Dragon Tattoo”, and delved into domestic mayhem with “Gone Girl”. Fincher's hand also guided the Netflix series “Mindhunter,” where he displayed his mastery over the genre, crafting chilling narratives around the true-to-life horrors of America's most notorious serial killers.

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His cinematic endeavors are often more respected than beloved, a sentiment that rings true with his latest project, “The Killer”. In this film, we encounter a loner assassin, portrayed by Michael Fassbender, embroiled in the aftermath of a failed hit. This nameless hit man's life epitomizes the desolation often found in Fincher's works—solitary, grim, and treacherous. Even in its Hobbesian bleakness, the narrative unfolds to reveal the darker consequences of the protagonist's occupation.

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Adapted from a French comic book bearing the same name by Alexis Nolent, also known as Matz, with visuals by Luc Jacamon, the story's protagonist is a hit man leading a paradoxically nondescript and cynical existence. He navigates a world steeped in nihilism, a society resting atop a metaphorical mound of the deceased. His life is riddled with hollow encounters, punctuated by his disdainful and banal musings. Despite his profession and its associated violence, it is the banality of the killer's life that is intended to season the narrative with interest.

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The central concept presents an anti-heroic foil to the iconic spy genre. It promises an intriguing premise on the surface, yet finds itself mired within tired tropes. The comic distinguishes itself through Jacamon's vivid, cinematic artwork—a stark juxtaposition to the hit man's dreary inner world. While the comic invites readers to stay visually engrossed, Fincher's rendition approaches the aesthetics with a subtler touch. The film dabbles in shades of sulfurous yellow, interspersed with moments of visual flair, like the relentless gaze of an eye through a sniper scope, and embraces a penchant for shadow-play that pushes the limits of on-screen visibility.

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