THE KILLER (2023) review
written by: Andrew Kevin Walker
produced by: William Doyle, Peter Mavromates & Ceán Chaffin
directed by: David Fincher
rated: R (for strong violence, language and brief sexuality)
runtime: 118 min.
U.S. release date: October 27, 2023 (theatrical) & November 10, 2023 (Netflix)
An action thriller directed by David Fincher that follows an assassin played by Michael Fassbender from a screenplay by “Seven” screenwriter Andrew Kevin Walker comes with great expectations. Count me in. It will look cool with cinematic style and artful composition with an intense lead and an absorbing story. It’s all that and then some, but the most surprising part is how darkly humorous it is. Granted, the delivery is subtle, but the humor is there in passing or under the surface or in the acerbic narration by the protagonist. The story, adapted from a French graphic novel series of the same name, may be straightforward, but with Fincher at the helm, the execution is fantastic as the director creates an absorbing revenge tale with equal amounts icy mood and stunning action, all with a hard-boiled noir approach.
When we meet Fassbender’s nameless character, The Killer, he is positioned in an empty top-story WeWork office space where he patiently awaits his target across the way in a luxe Parisian hotel. Waiting for days, the eponymous character occupies himself with his typical preparatory methods. He stretches, does yoga, takes a timed nap, listens to The Smiths in his earbuds, and checks his rifle and heart rate, all of which seem to be part of his standard rituals. While we wait with him, we learn about The Killer through internal dialogue that divulges his work and life rules and philosophies. He admits that it’s a challenge to not be spotted nowadays with cameras everywhere, but the goal is to “Avoid being memorable”, which is why he chooses the forgettable apparel of a German tourist (stating “the French avoid German tourists”) with a floppy hat, sunglasses, a floral patterned shirt, and variations of beige and gray.
It appears this Killer is very methodical and accurate in everything he does, but maybe his thoughts have become distractions. Such an idea comes to mind when the Paris job ends in a disaster with The Killer missing his target. Part of this method requires him to wait till his pulse drops to 60 before he fires his rifle, but he didn’t do that this time. Is his focusing more on the process and less on the procedure? One assumes that with all the calm baritone voiceover that we hear, The Killer must be the best of the best, but the story becomes much more fascinating (and humorous) when we realize that maybe he’s not the best there is at what he does.
With the Paris job botched, The Killer flees the scene and catches a flight to a secluded property he has in the Dominican Republic. His zen-coolness dissipates to a focused concern with a frustrating rage simmering under the surface. Upon arrival, he sees that the property is now a crime scene, and his girlfriend, Magda (Sophie Charlotte), is hospitalized after severely being beaten by home invaders looking for The Killer. He knew that missing his target would result in repercussions for him, but he never thought that she would suffer for it. His goal now is personal, as he gathers information on those involved and prepares both mentally and physically to exact revenge.
The story of “The Killer” is broken down into six chapters by Walker, with each one following the titular character to a different location with a specific purpose. As he travels to each place, his cold exterior begins to melt. His work and life playbook with its rigid routines and disregard for empathy begins to gradually unravel. Considering the outcome in Paris, such a “stick to the plan” mindset makes us wonder if The Killer was ever really an efficient assassin or maybe these mantra-like tenets were something he repeated to himself so often that he believed he was living them out.
Once he leaves the Dominican Republic, “The Killer” becomes a fascinating take on the procedural film. Instead of following the police or detectives, like we usually do in this genre, we’re following a professional assassin. Now on a path of retribution, which takes him to various locations in the States. It’s worth noting that if you have any pop culture knowledge of television sitcom characters, you’ll get a chuckle out of the various passport aliases The Killer uses…from Felix Unger to Archibald Bunker to George Jefferson and Sam Malone. It’s quite telling how oblivious security is each time his identification is checked and/or his passport is stamped.
It’s also comical to hear his sarcastic observations related to the U.S. locations he visits. When he lands in New Orleans he mutters how it’s the “land of 1,000 restaurants and one menu” and then as he drives around St. Petersburg, Florida, he comments, “Ah, the Sunshine State. Where else can you find so many like-minded individuals outside a penitentiary?” His observations are biting yet truthful. It’s just fun to hear it all in Fassbender’s dead-inside deadpan tone. I’m surprised he made no comment when the vehicle he follows in Florida honks to the tune of “La Cucaracha”.
Most of the people he visits on his path of revenge should’ve seen it coming knowing how meticulous The Killer is. When he infiltrates the New Orleans office of his handler/lawyer, Hodges (Charles Parnell), disguised as a custodian, no one is surprised. His goal is simply to acquire the identity of the two killers who hospitalized his girlfriend. He gets the information, but in the process also finds himself in a bit of a quandary when Hodge’s assistant, Dolores (Kerry O’Malley), begs for a death that’ll make it look like she didn’t commit suicide – so her family can at least benefit from her life insurance policy. Is she hoping for empathy that isn’t there or does this make The Killer pause and contemplate the idea of empathy, deviating from one of his tenets? After doing this as long as he has, how long can one remain cold-hearted?
Although the whirring internal musings and observations of The Killer are heard throughout the film, “The Killer” is far from a slow crawl. There are quick bursts of violent action throughout and one long, drawn-out assault at the home of a ‘roided up Floridian known as The Brute (Sala Baker) that is painful to watch. It winds up as the most memorable and brutal action sequence I’ve seen all year – not that I’m ever looking for something like that, but it stands out nevertheless.
The way cinematographer Erik Messerschmidt (who also lensed Fincher’s last film “Mank”) shot this sudden action sequence, using natural light (minimal at that considering it’s an interior setting at night) in an obscured place, heightens the urgency and peril of the moment. Kirk Baxter, longtime editor for Fincher, should also be giving credit for the action here, considering how tight and fluid the cutting is. Although The Killer remains relentless and calculated throughout this brutal melee, he’s left physically beaten and exhausted, and the whole encounter is capped off with a humorous bit between Fassbender and a dog and then another funny exchange between Fassbender with an airline attendant. Fincher doesn’t park on either of these moments purely for laughs, but rather to give us a cool-down breather from what we just witnessed.
Along with the cinematography, the sound design and score for “The Killer” definitely add a specific mood and mystery to the feature. Various indecipherable sounds (screeching and grinding?) can be heard throughout and yet you won’t hear one grunt or groan during the Florida fight scene, which adds an eerie element to an alarming situation. It’s an absorbing collaboration between the sound department and frequent Fincher composers Trent Reznor and Atticus Ross, both of whom once again deliver atmospheric music that’s worth revisiting. It’s a good juxtaposition with all The Smiths songs The Killer plays.
The last two chapters of “The Killer” find the assassin making two more stops to complete his mission and this is where we probably learn the most about Fassbender’s character. While this is where he has the most lines, it’s more about what he does than what he says. In a small town in New York (actually filmed in St. Charles, Illinois), he tracks down The Expert (Tilda Swinton), a fellow assassin who had accompanied The Brute down in Florida. Sitting across from her unexpectedly at a restaurant she frequents often, he listens to her ramble about the nature of their work knowing full well what he’s there for. She knows that he usually wouldn’t give her this much time before her inevitable demise. Based on what we’ve heard from him throughout the story, such behavior doesn’t align with his tenets. So, maybe what we now see is a combination of curiosity and fatigue amid newfound empathy. It’s a great scene between Fassbender and Swinton, with the two conveying unspoken internal activity between two veteran assassins who would rarely ever cross paths. After all, it’s a solitary job and not one where you often meet competitors. If you do, it’s probably you’re last meeting.
Speaking of last meetings, the last one we see The Killer have is in Chicago and it doesn’t end the way we’d expect it to. He bypasses security and infiltrates the high-rise home of The Client (Arliss Howard), a wealthy businessman who unknowingly set The Killer on this path of revenge. They also have a conversation where the assassin primarily listens and ascertains his situation. It’s a curious exchange to watch, one that is fascinating to ponder motives and decisions. The outcome left me even more intrigued by Fassbender’s character.
No doubt, some viewers may be bored with the overall pacing of “The Killer” and maybe even feel that way about the film’s protagonist. So be it. It’s not at all a slow or boring movie, but I can see how it wouldn’t be for everyone. Still, fans of Fincher should get a kick out of it, maybe even delight in it. There is much more going on here than you see at face value. If you’re as on board with “The Killer” as I was from the start, you may find yourself wondering where does The Killer go from here once Fincher delivers his closing shot.
RATING: ***1/2
