★★★★
Debuting at the Venice Film Festival, David Fincher’s latest thriller The Killer is a masterclass in technical craftsmanship. From seamless CGI to precise framing and sound design, Fincher’s meticulous attention to detail shines through. The film follows Michael Fassbender, an assassin caught in an escalating series of hits after a job goes awry. Fassbender’s voiceover assassin-splains the nature of his work to the audience, creating a clever subtext that compares the craft of killing to the craft of film direction.
The narrative is stripped-back and propulsive, allowing the moments of humor to shine. Fassbender’s steely performance keeps us engaged, even when he’s often alone on screen. As the killer’s competence is laid bare, we drink in all the tricks of his trade. And then there’s the one-on-one brawl—an unforgettable cinematic moment. Move over, John Wick; this fight scene takes the crown for 2024.
Trent Reznor and Atticus Ross’s score effectively sets the tone, but it’s the tracks by The Smiths and Portishead that linger. During the end credits, audience members danced in the aisles.
However, “The Killer” falls short of greatness. Its charms remain superficial, overshadowed by its technical prowess. The emotional depth we crave is absent, leaving us with a beautifully executed but ultimately hollow experience. The film’s pleasure’s are limited: it’s cold and slight. Purposefully eschewing narrative complexities, it prioritizes showcasing the director’s craft alongside the killer’s.
The Killer is a paradox: a taunt, stripped-back fastidious revenge thriller that’s technical marvel and a must watch for Fincher-heads. But it lacks the heart to elevate it beyond superficial joys, great as they are. If you appreciate competence porn and Fincher’s precision, you’ll find much to admire. But for those seeking more profound storytelling, it may leave you wanting.
The Killer played at the Venice Film Festival, which runs until September 10, ahead of an expected cinema release in the UK.
Whitlock&Pope 