The Killer review: David Fincher stylishly roasts himself Score Details “What makes The Killer more than an exercise in businesslike genre cool is the powder-dry humor sprinkled over its immaculate su
rface.” Pros Cons When Jimmy Stewart raised a camera to his eye and aimed it at the apartment building across the way in Rear Window, he looked less like himself and more like his director — Hollywood’s ultimate leering, obsessive voyeur, Alfred Hitchcock. Something similar happens in The Killer, David Fincher‘s expectedly slick, unexpectedly funny new thriller.
Fassbender’s Killer belongs to a proud movie lineage, a tradition of existentially freighted and laconic men of action. He doesn’t talk much. Not audibly anyway. Inside his head, he’s a total chatterbox. The Killer reunites Fincher with Andrew Kevin Walker, who wrote Seven and punched up Fight Club and The Game. Here, he’s supplied a veritable novella of voice-over that might make Tyler Durden plead for a little quiet.
Fassbender offers an ideal vessel for pared-down thrills. Like Steve McQueen or Alain Delon or Ryan Gosling, he looks sharp and cool, an iconic logo of a protagonist. His performance gives us nothing, but keeps us looking for something. The explicit emotion in the movie belongs only to the supporting characters unfortunate enough to slip into his crosshairs.
The plot, adapted from a French graphic novel, is all sinew. A job goes wrong, consequences ensue, and several new, related jobs take its place. Fincher creeps the action across the globe step by step, from assignment to assignment, with the dispassionate flow of a balance transfer.
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