David Fincher’s The Killer is like a feature-length spinoff of Mindhunter. The film takes the premise of that show – probing the complex minds of real-life serial murderers – and combines that depravity with the meticulous structure of a professional assassin. Michael Fassbender, in a workman’s role, stars as the titular protagonist, a man of impeccable intellect and patience who details the events of his day via a solemn internal monologue. Fincher’s film does not make the popular statement that people of the main character’s ilk should be seen as horrible individuals. Instead, The Killer is more interested in a predictable but pragmatic viewpoint – this guy must be incredibly skilled to do this job, and all the noise going on under the hood is of endless fascination.
Fassbender’s character has no name revealed to the audience, as he embodies an enigma of endless precision. In his line of work, he can’t leave a trace of evidence, devotes his entire days to prepare for moments that can pass in a split second, and he starves himself of sleep sans a few brief moments. His diet is whatever his options are on the road, including a revealing moment where he eagerly waits in line for some McDonald’s. He’s not so vain as to avoid the fast food joint, appreciating the restaurant’s ability to efficiently provide him a steady source of protein. If only we could convince him to crack a smile and order a Happy Meal. All of this builds up to a critical mission that ends up having unforseen consequences, an inciting incident that sets the rest of the narrative in motion. In the event’s aftermath, the “Killer” has to make some choices that may seem against type for the man who swore he had it all figured out.
The film is based on the graphic novel by Alexis Nolent, a work that possibly pieces together what it would be like if Dexter became a hitman, but with extra doses of pulp. There also seems to be some inspiration taken from the cold and glacial Le Samouraï (1967), as well as the hyper-focused and sadistic tone of Death Note. While these may not all be deliberate references, The Killer is of kin to these savage tales, exploring a unique morality play where the titular Killer is forced to evolve in ways he did not expect.
If movies like Zodiac (2005) and Se7en (1995) explored the actions of deadly men from the purview of the establishments tasked with trying to capture them, The Killer sheds the authorities and puts the power and rule-making into the hands of its most unsavory characters. Fassbender’s character is one who acts outside of the confides of the normal order in society, and once he’s confronted with a dilemma that threatens everything he cares about, he must combat it in that same arena. The movie is about the pros and cons of such an unconventional life. Enjoy the egregiously fabulous mansion, but be prepared to look over your shoulder for the rest of your life.
Some have criticized David Fincher as overly fascinated with murder and the men who commit said murder. Coincidentally, True Crime consumption has become increasingly popular in the past decade, creating a seemingly safe portal for viewers to peer into the minds of the most unhinged people on earth. But before you could snuggle up with popcorn in front of some Netflix docudrama, or have a podcast get you through the work day or a drive home, Fincher used his own films to explore these minds by way of the obsessed detectives determined to find justice. Now, the detectives have moved to the living room, as viewers attempt to understand the mind of a killer despite feeling guilty about the hobby. Yet, we don’t need to guess what Fincher thinks about this phenomenon or if he relates to modern audiences and their twisted viewing habits. The man himself touched on the subject in this Time interview, among the relevant quotes being:
But I think at its best, people’s interest in true crime is people’s interest in trying to understand why we behave the way that we do.
That certainly describes this film, so laser-focused in its central character that there’s hardly any room for anything else. If you don’t find interest in this protagonist, or in Fassbender’s performance, you will not have a good time with this movie as it’s basically akin to a 2 hour interview with a psychotic and unusual human being. Nonetheless, The Killer is not among Fincher’s best, but it is impeccably made and memorably violent. The violence itself isn’t one note, evolving from tactical sneak attacks to full-on collisions. The movie’s biggest setpiece is one of the best executed Hollywood fistfights in years, and one that Fischer seems to have intended specifically for the surround system aficionados of the world.
I can’t say I’ll ever feel the need to revisit The Killer, but I was certainly hooked while it lasted. It’s a grim movie, but also one that veers into directions you wouldn’t expect. If the goal was to capture a weird slice of life, one that seems to be balancing itself on multiple genres – then mission accomplished. I do believe the film does lose some steam in its last 3rd, and it really struggles to establish any other worthwhile characters besides the protagonist – despite one particularly famous cameo. It’s a strange but intense movie, one that won’t appeal to everyone. But as a moody thriller, it hits its target better than most.
