Rendező:
David FincherForgatókönyvíró:
Andrew Kevin WalkerOperatőr:
Erik MesserschmidtSzereplők:
Michael Fassbender, Tilda Swinton, Charles Parnell, Arliss Howard, Kerry O'Malley, Sala Baker, Sophie Charlotte, Endre Hules, Monique Ganderton (több)Streaming (1)
Tartalmak(1)
Egy végzetes baleset után a bérgyilkos harcol megbízóival – és önmagával – egy nemzetközi bosszúhadjáraton, amit igyekszik nem személyes ügyként kezelni. (Netflix)
Recenziók (10)
Michael Fassbender érdekesen mozog, jár és hangját is érdekesen használja. És ez minden. Monológos eszmefuttatásai éppoly üresek, mint a karaktere mestersége, és két hidegvérű profi naturalista verekedését ennél intenzívebb kivitelezésben is láttuk már máshol. A sztori egyszerűsége nem is lenne nagy baj, ha kompenzálva lenne ötletes pillanatokkal, a főszereplő egyedi pszichológiai profiljával és formai játékokkal. De A gyilkos című film semmi ilyesmit nem kínál. A forma precíz és tiszta, de szürkés. Asztal melletti találkozás a szerepébe tökéletesen beosztott Tilda Swintonnal felkelti a néző kíváncsiságát és részvételét szinte úgy, mint Al Pacino és Robert De Niro face-to-face randevúja a Szemtől szemben című filmben, de ez marad az egyetlen jelenet is, amire majd a filmből emlékezni fogok. David Fincherhez képest ez kevés. Egy bérgyilkos hasonlóan minimalista, alkotói szempontból egyedi és érzelmileg jobban kivitelezett profiljaként egyértelműen jobban tetszik Az amerikai című film George Clooney szereplésével.
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Perhaps Fincher's most meditative film to date, the music calmly throbs throughout, like Fassbender's assassin at the beginning, patiently waiting for his shot, mindful of his heartbeat and, like almost the entire film, going nowhere, repeating to himself with obsessive care, "Stick to the plan.... don't improvise." And that's exactly what Fincher does, thoughtfully, with the precision of a Swiss watchmaker, layering one carefully composed scene after another, and seemingly, unwittingly, imprinting himself on Fassbender's character as well. Early on, after a botched murder, the man in question thinks "Fuck, this is the first time" and I could see Fincher having similar thoughts flying through his head after the mixed reception of Mank. And it's as if they were both chasing perfection, where failure is unforgivable. Something was missing in the rating and Fincher was not to blame. Perhaps I was expecting something more thought-provoking from Walker's script (8MM remains unbeaten), perhaps a better ending and not the shallow point at the end, including the few idyllic shots that are really flat. Anyway, precise Fincher ..... precise Fincher is back!, just the way we like it. Only that Andrew K. Walker guy picked a weaker moment.
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Since David Fincher started collaborating with Netflix, it seems like he's been making whatever he wants, and it's clear that this isn't working out. With The Killer, it feels like he was determined to make a movie about a murderer, a subject he enjoys exploring. However, the result is that Michael Fassbender spends more time narrating than actually acting. Plus, nothing really happens. The film lacks any real emotion. Sure, it's technically proficient — coldly proficient, in fact —but that's about it.
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A weaker moment for David Fincher. The trailer touted an attractive thriller about a hitman, which seemed to be his strongest point, but the result is not very satisfying. The first half hour is excellent, as we watch Michael Fassbender in an apartment preparing to shoot someone with a sniper rifle. I liked the attention to detail, his preparation and the excellent monologues, which consisted of various statistics and philosophising, I that enjoyed a lot (too bad the whole film wasn't in this style), but then it takes a bit of a turn and starts to fall rather flat. The second half in particular is already quite contrived. I was kind of hoping that Fincher would focus on the hitman style, that we'd be watching a professional assassin going from target to target and various forms of defusing with high attention to detail, but this another personal revenge that doesn't stand out from the competition in anything interesting, and Fincher's signature isn't very recognizable. Fassbender's acting is good, likewise of course with the craftsmanship, but plot-wise it doesn't have any balls, there's not much action either, no satisfying twist (at least the fight in the apartment had balls, it was pleasantly gritty, with great cinematography and interestingly shot, it was very palpable, it was the highlight of the film for me), the ending is completely devoid of zest. Shame, the potential here was definitely higher. 6/10.
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Stick to the plan. Anticipate. Don’t improvise. Trust no one. Moving close to a competitor in the field like Anton Chigurh, he would sit across in a chair and say his piece: "If the rules you followed brought you to this, what use were those rules?" But does the emotionally detached android David even adhere to his own rules when showing weakness? Is missing the target and pretending to follow the motto "I. Don’t. Give. A. Fuck." just a lie he tells himself? Sarcastic voiceover commentary, stark methodical content, a fitting coldness in form, and Fassbender’s performance, which leaves the great grizzly cowering in its den for the rest of its life. The question remains: who is the great grizzly? Best scene: The Last Supper of Tilda Swinton.
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No one is special. We are all mere aberrations, but otherwise we are all basically the same. Fincher's philosophizing assassin explains the importance of overcoming boredom and the benefits of diligence. I've never seen a more relaxed and serene opening. It's a balm to the soul and a throwback to the early days of Dexter. Fake smiles, at McDonald's or at an airport counter, Fassbender's emphasis on minimalist, spare and slow speech and a thoughtful, planned out life that goes out of whack at one key moment. Andrew Kevin Walker adapts a comic book about method and the importance of staying on top of things. Fincher chooses to repeat the rules, but they're often broken, to emphasize the hero's inner turmoil, but it doesn't affect his effectiveness. A melancholy quest for revenge seems to be the opposite of John Wick, yet it offers one of the most intense fights between two very different killers, supported by Reznor’s and Ross' restrained (as usual) soundtrack. Emotionless, yet absolutely precisely realised. It is the absence of emotion or some unexpected finesse that prevents The Killer from being anything more than a precise and cool study of people who simply, don't give a... Fuck!
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A reflective Fincher. Technically still on top of his game, directorially still as methodical and minimalist with attention to every detail. That the screenwriter chose a simpler plot without unnecessary twists or shocking points doesn't matter much. It doesn't have to be in every one of his films. In fact, Fassbender's assassin is such an interesting and well-portrayed character that it is he who is the center of the film, and around him revolves a kind of plot with changing locations and meeting interesting people. Worth mentioning is the fantastic action in Florida, which I wouldn't have expected from Fincher. A meditative, simmering crime drama where everything works very well, just not brilliantly.
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It's almost fascinating, mischievous fun. Watching an elite hitman who praises himself to the skies in the opening fifteen minutes, then makes a terrible mistake, but never stops doubting himself, even when it increasingly seems that the mistake was far from the last, and in fact not even the first. David Fincher has taken the liberty of making a wonderfully filmed two-hour ode to the ego, and I'm sure with each successive viewing there will be more and more little "a professional killer probably wouldn't do this in another movie" details that I didn't notice the first time around.
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I was expecting a bombastic thriller from The Killer about a hitman who in his revenge killing spree mode was going to massacre everyone and everything in his way. The thing is that David Fincher is involved and The Killer is a far more "boring" drama with more or less no action, a very low body-count, no shootouts, no emotion and no story. In fact, the film relies purely on Michael Fassbender's face and Fincher's name in the director's chair, but that's not enough for me here. Fassbender has nothing to work with, the film is slow and drawn out, we get nothing of the potential assassin's repertoire, and in fact I search in vain for any element that would save the film and make me remember it even months later. I wasn't bored and the film is perfectly fine to digest, but it's just too "ordinary" and unimaginative, with no distinctive signature.
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The long-awaited film by master craftsman David Fincher (especially with the script written by the mind behind Se7en and Michael Fassbender as the lead) had high expectations. So, could anything possibly go wrong? Fortunately, there were no significant creative missteps from the team, so the film offers a certain level of quality. The Killer maintains a very cold and detached tone throughout (as is typical with Fincher), so don’t expect an emotional rollercoaster. Personally, I appreciated this approach. Presenting the story of a meticulous hitman in this manner feels like a safe bet. The plot benefits from impeccable storytelling (Fassbender's monologues were incredibly engaging) and a polished audiovisual presentation (the change of scenery in each chapter was a nice touch). The soundtrack also made a significant impact at times. As for the action, it's not abundant throughout the nearly two-hour runtime. However, the visceral fight scene in the middle of the film is one of the best I've seen in the genre for a long time; only Jason Bourne might offer a comparable experience. Overall, everything worked out well, except for the ending, which was, at best, peculiar. So, I give it a solid 7.5/10.
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