Based on the French comic, it was filmed by David Fincher, the director of the hits Seven, Zodiac and Missing, and the titular role of a cold-blooded hitman whose conscience begins to betray him for the first time in his life before a new job was played by Michael Fassbender, the hero of the films Stud or Steve Jobs.
Now he presents himself in the study of a man who relied on his professionalism. He is solitary, cold, methodical, unencumbered by remorse or pity; Fassbender never even blinks in the shot, making his character seem completely emotionless. But when circumstances disrupt his routine, the longer he waits for his next goal, the more he suddenly loses confidence.
Fincher had been trying to film the original for almost twenty years, and his dream came true only thanks to a four-year contract with Netflix, for which he had already filmed the contemporary biography Mank. The director’s fans are hoping for Fincher’s return to the throne of the king of the modern thriller from The Killer, including elements of bloody brutality, especially since the first reviews are also favorable.
They write about “an amusingly absurd ballet of anonymous professionalism”, about “a coldness that still exudes a lot of humor”, and there is even an opinion that this is how James Bond could look if they entrusted his continuation to Fincher.
Occasional criticisms then point to the hero’s observations about the meaninglessness of existence. However, most viewers praise The Killer for being different from similar stories and often cite its motto, which is: “Stick to the plan. Anticipate, don’t improvise. Do not trust anyone. Don’t give any benefits. Ban your empathy.”
