11.11.23
Immaculate precision beset by an almighty cockup. The Killer has all the hallmarks of David Fincher’s technical, ice-cold approach. Full of memorable high points and great monologues from Michael Fassbender, the relatively simple narrative reflects a curious, morally ambiguous worldview. The backdrop of melancholic songs from The Smiths also lends the right amount of edginess to a film which impresses but doesn’t end on the high note it seems to be arriving at.
The first 30 minutes in particular are riveting, plunging straight into the sleek, stylised world of Fassbender’s methodical killer. Later down the line, we’re treated to one of the most visceral and well-choreographed fight scenes I’ve seen in years. Even Tilda Swinton manages to make her mark as a rival assassin, scary without being threatening, totally capable yet slight of frame, and intense yet oddly likeable in her screen presence.
However, the film unfortunately loses steam in the final act. The climactic confrontation between Fassbender and the main ‘villain’ lacks punch, while the ending feels rushed and unsatisfying. This is a shame, as Fincher’s razor-sharp direction and the charismatic leads had me gripped for much of the running time. While not a new genre classic, The Killer ultimately provides solid entertainment value, making it a decent addition to Netflix but not so impressive when you consider Fincher’s legendary back catalogue.