Assassin’s Creed: A Calculated Bore

“The execution is everything.” These three words form the tagline for it. Killer, a new thriller starring Michael Fassbender as a cold, calculating killer. The film is directed by David Fincher, who has directed some of the most popular films of all time such as Se7en, Fight Club, The Social Network, and Gone Girl. Known for his meticulous attention to detail and precision in storytelling, the main character seems to be modeled after Fincher himself. While The Killer offers glimpses of Fincher’s brilliant direction, it ultimately falters in some areas, leaving a mixed impression.

One of the standout aspects of The Killer is Fincher’s calculated direction and camera movement. Anyone who has worked with Fincher knows how careful he is, going into exhausting numbers for the same scene. He’s a genius – a psychopath, but an absolute genius. The camera work is consistently accurate and visually appealing. Fincher’s signature style is evident in every frame, with the ability to create tension and atmosphere at every moment. His talent for creating suspense through framing and pacing shines throughout this film, even if it is one of his more inconsistent efforts.

The lighting and framing in The Killer is something to behold. The dark and moody visuals perfectly complement the mystical and mystical tone of the narrative. Fincher’s use of shadow and low-key lighting heightens the suspense and anxiety, adding depth to the film’s atmosphere. The framing is also impeccable, capturing the audience’s attention and guiding them through the story with precision.

One of the most unique and daring aspects of The Killer is its decision to retain a point of view almost entirely from the titular character. The choice offers a fascinating glimpse into the mind of a professional assassin. It allows the audience to see the world through the killer’s eyes, highlighting his method for his deadly work. This perspective offers a fresh and unconventional narrative experience while adding complexity to the film. This is also true with the sound design, where the music the killer hears changes volume depending on the shot.

However, the killer has its share of drawbacks. One of the most significant problems is the film’s tendency to become dull at times, mainly due to the heavy use of narration. Although Fincher used voiceover effectively in Fight Club, it doesn’t work here. Most of the killer’s thoughts and actions are expressed through internal monologues, and often don’t feel like we need to hear them. There are times when it feels as if the suspense would be even greater if we weren’t hearing the killer’s voice that we’re seeing.

The screenplay of The Killer is another area that leaves a lot to be desired. It’s a familiar revenge story that lacks the depth and emotional resonance a story like this should have. The premise feels familiar to what we’ve seen in films like The Fugitive and Without Remorse. The characters, including the titular killer, are somewhat one-dimensional, leaving the audience with little to invest emotionally. Many of the people who encounter the killer throughout the film have very short screen time. The film’s potential for moral dilemmas or complex character development is squandered in favor of a more straightforward, less engaging, narrative.

There are wonderful moments throughout the film. At times it can feel like we’re watching Fincher’s first real action movie, with a perfectly crafted motorcycle sequence that transports you into his headspace. There is some well done, clever humor and very deliberate use of product placement throughout. However, the emotional core driving The Killer is lacking, and it can sometimes feel like we’re watching another take on The Equalizer. It’s strange how a Fincher film can feel so conventional, and yet, its style is anything but. His lighting and framing are perfect, but there’s nothing that moves us beyond his remarkable skills behind the camera.

Despite the film’s flaws, Assassin still manages to maintain a level of intrigue and suspense throughout its runtime. The occasional dull moments and unremarkable screenplay are offset by Fincher’s stylish direction and brilliant color palette. The film’s strong visual elements and atmospheric cinematography create an engaging environment for the story to unfold. I wish he pushed his audience’s emotions further than he did, and I wish there was more of it.

The Killer showcases David Fincher’s impeccable directorial skills, especially in terms of camerawork, lighting and framing. However, the film is hampered by its endless narration, a mediocre screenplay, and its execution of a revenge story that you may have seen much better before. While it falls short of reaching the heights of some of Fincher’s previous works, it still offers a stylish and occasionally thrilling cinematic experience. For fans of the director’s distinctive style, The Assassin may be worth watching, but it may leave some viewers yearning for a deeper and more emotionally resonant story.

Score: 5/10

As ComingSoon’s review policy explains, a score of 5 equals “mediocre.” Positive and negative tend to negate each other, making it a wash.

Disclosure: ComingSoon attended the New York Film Festival for our The Killer review.