No assembly RequireD

Every detail must be exact. It is the only method David Fincher knows. A director who has become infamous not just for his films, but his meticulous ways of setting up shots and making his cast and crew go through hundreds of takes before finding the right one. Some can see it as a genius at work while others would lean towards psychopath. Sometimes the two blend together. Fincher’s latest, THE KILLER can be seen as a humorous look in the mirror for Fincher. He may not be a global assassin (as far as we know) but the film’s character needing every detail of his job to be exact, well it is familiar grounds for Fincher.  The film itself is basically a best of hits for Fincher, call it his “Now That’s What I Call Fincher” compilation album. And while it may have all the usual outings, dark brooding atmosphere, cool guy vibes through its score, and of course tons of brutal violence both exhibited physically and mentally, there is still a great expanse in Fincher’s ability to make it all look so easy for him. Adapted from Alexis Nolent’s French graphic novel of the same name, THE KILLER doesn’t hide what it is about, just read the title and yes its about a killer, one who claims to be so stone cold in his entire execution that when a job goes wrong his personal life and feelings are forced into play even if they believe otherwise. Its far from an unheard of plot, but for Fincher and a screenplay by Andrew Kevin Walker (who first worked with Fincher on 1995’s Se7en) the film becomes an exciting look at how two men creating their careers from the 90’s adapt to modern times and show that much like this modern character (created in 2018) these two can adapt to quick changing circumstances. But even with new plans and situations Fincher continues to prove the whole “if it isn’t broke, don’t fix it” attitude and thankfully someone at his level of expertise can live up to that talk. THE KILLER is a perfect example of yes adapt to change, but maybe the job will always get done if you do what you do best and refuse the rest.

“Stick to the plan,” we hear it over and over again from THE KILLER’s main man (Michael Fassbender) never named to us but listed only as  well “the killer.” Stationed up in an abandoned WeWork office space (one of the film’s many jokes on the modern work force) the killer has his target in sight. In fact even when they move locations and the killer remains in place we still get the sense that he knows every movement they will make. Like most crime noirs the film’s dialogue early on is spoken mainly in voice over as we learn from the killer what is required to be a top assassin (spoiler alert it consists of patience and properly timed power naps). While THE KILLER with its premise may seem like a hard teeth grinding tension filled film, it comes with great humor delivered by Fassbender as he explains his day to day routine all while listening to an endless playlist of The Smiths. In fact the 80’s English rock band practically becomes a character itself. As Morrissey belts out “How Soon Is Now?” the killer lines up the shot, the guitar blares, the target’s in sight. All this is too easy. “Stick to the plan.” But even a master messes up every once in a while. Sometimes it’s a bad script, other times a poor performance on the stage, and in those rare occasions it’s a botched assassin that will ruin your life. While tension runs high there is a great running joke in the idea that the one time we hang out with this expert assassin he fucks up. But even a messy assassin can still look cool. With Erik Messerschmidt’s cinematography and a score from Trent Reznor and Atticus Ross (who can do this in their sleep at this point) brings this now on the run assassin into cool guy chase mode where every turn is precise, every sign of evidence is quickly washed away it could make the Ethan Hunts and Jason Bournes of the world seem like amateurs. But even with all that smooth energy, the film allows for a few segments that while choregraphed to the exact move feel messy and on the spot. One particular hand to hand fight scene may be the most engaging fight you see this year (yes even you John Wick 4) given how aggressive yet intimate it comes across.

It doesn’t take a genius killer to figure out the next moves of our anti-hero. Once we learn there is a home life for the killer we know the revenge on both him and those after him will be brutal. “Stick to the plan” he continues to utter, but the plan is far from routine now. But even with these new circumstances it is a blast to watch Fassbender and the script continue to show how this no other option man tracks down those in charge. In films of yesteryear the killer would have no trouble remaining unseen, but Fincher who is no stranger to innovation being a character in itself (Social Network’s used social media as a weapon and Panic Room based its whole premise on the idea of new technology working for an against you). THE KILLER knows the world is run by consumerism and the killer utilizes this at every corner, locked door? No problem, by a replica one on amazon. His target walks into a secured gym? Easy solution, sign up for a free trial membership. It practically becomes a comedy with how easy assassins have it today. Hell the guy next to you in the locker room could probably be hunting you down at this point. The film is far too focused on its lead to openly speak a heavy handed message on how commercial consumerism continues to hurt us, but it still seeks through most actions that causes death for others. But even with these mentions of worldwide issues, the film relies heavily on the back of its lead. Fassbender whose performances often display an array of calmness until taken over by extreme anger brings that smooth swag energy that even as he wears goofy Hawaiian shirts and fedoras it practically makes you want to run out and buy your own. He’s that cool in it.

While THE KILLER has plenty of violence and death, it is a small scaled film that allows time with each person before their end. While not as terrifying as an Anton Chigurh there is still the obvious notion that once you encounter the killer, that is it. No begging needed the decision has been made. Grasp the reality now. “Stick to the plan.” But even with these no way around it situations the script allows supporting performances that include Tilda Swinton, Charles Parnell and Arliss Howard to question the motives of the killer. He may not budge on their remarks but the film sneakily displays a different approach to the way he deals with the following person. Is there some form of compassion forming? Could he be improvising? Even as empathetic people we feel certain that can’t be the case, but why does this time feel different? “Stick to the plan.”

THE KILLER may be Fincher’s smallest film in scope in his entire career (this is the man who debuted with a franchise film after all) but it is a reminder that even this change is an easy adaptation for him. A filmmaker that knows what he is bringing every time something new arises. Improvising may be an option every once in a while but you better be prepared to stick to the script over and over again. You don’t become an expert without practice and if nothing else Fincher can say he has done that. Endless hours and a wonderful filmography to show for it. If Fincher ever did decide to become a global hit man we all better run for the hills because he will get the job done with precision and perfect execution. He gets it done, and moves onto the next one. “Stick to the plan.”

A

THE KILLER WILL BE RELEASED IN SELECT THEATERS OCTOBER 27 AND WILL STREAM ON NEYFLIX NOVEMBER 10