LONDON: However tempting it may be, it’s never a good idea to judge a movie before you’ve seen it, but when it’s a thriller directed by David Fincher and starring Michael Fassbender, it’s hard not to make a couple of big assumptions before the opening credits roll.
And, for the most part, any such assumptions about “The Killer” would be right. This is a tightly constructed, atmospheric, somewhat claustrophobic outing helmed by a director famous for such films. And it is powered by an intensely nuanced performance from a lead known to be one of the most gifted character actors of recent years.
Put the two together and it’s no surprise that “The Killer” is so efficiently effective, much like its titular assassin (Fassbender). The yoga-loving contract killer is dry and sardonic, prone to introspective mantras and fond of The Smiths. Despite the scarcity of onscreen dialogue, it’s a layered and fascinating character — thanks in no small part to the richness of the source material, Alexis Nolent‘s graphic novel “Le Tueur.”
When a job goes wrong, the Killer finds himself on the wrong side of a cleanup operation, and embarks on a globe-trotting revenge mission that, far from the glamour of James Bond or the bombastic fireworks of John Wick, relies on thoroughness, attention to detail and conviction of purpose. Fincher wields picture and sound with equally ruthless efficiency, expertly focusing on humdrum minutiae as much as intense set pieces, and showcasing Fassbender’s frightening ability to speak volumes with little more than a fixed stare.
Foregoing spectacle for gritty worldbuilding would be a bold choice for some directors. But Fincher has the chops to pull it off – and then some. “The Killer” is subtle, understated and intense, as comfortable with the boredom of a day-long stakeout as it is with a bullet-riddled shootout. And the result is one of the most efficient and engaging thrillers of the past decade.
