Streaming services have completely changed the way we consume film and television. For better or for worse, audiences everywhere can forgo the traditional theatrical experience for the comfort of their living room. In some cases, I appreciate this modern luxury; it’s cost-effective and comfortable. But when I heard that David Fincher’s latest feature film, “The Killer,” was slated for a Netflix release — aside from a few screenings in large metropolitan areas — I was a little bummed. A director of his caliber, known for the iconic “Fight Club,” “Gone Girl” and “Se7en,” deserves a theatrical wide release.
To add insult to injury, Netflix’s lackluster marketing seemed uninterested in the film. For one, the official trailer wasn’t released until Oct. 27 — the same day the film’s limited release began. It’s not like Netflix hasn’t harbored famous auteur releases in the past: Martin Scorsese’s “The Irishman” and Noah Baumbach’s “Marriage Story” are but a few examples. Nowadays, it almost appears Netflix would rather commit all its marketing attention to its original series. Could this be because they are tight on costs? It’s entirely possible — their recent policy for household limits caused quite a stir.
I could understand Netflix’s decision if “The Killer” was a misfire, but the film succeeds. While decidedly less exciting and ambitious than some of the director’s previous projects, “The Killer” is a crisp, cold-blooded action thriller. Despite some jarring pacing issues and an unrewarding ending, the film’s beautifully composed cinematography and hardened lead performance deliver an engrossing entry in the Fincher catalog.
The story follows a seasoned assassin with an inventory of secret identities, played by Michael Fassbender. After a job goes wrong, he must confront his employers and himself on an international manhunt.
Fassbender’s performance is gripping and unfeeling. His voice is as methodical as his procedures, possessing an unsettling stoicism and a callous lack of empathy. While his character is a little dry, it’s still interesting to see Fassbender navigate the killer’s arc, gradually approaching a sense of humanity by the film’s conclusion. With a severe lack of engaging supporting performances, his initial emotional absence and overarching development carry the film on its back. Fassbender also dips into some refreshing comedic beats, utilizing the killer’s amusing oddities and playful antics.
The film’s color palette, shot composition and clean-cut editing are as pleasing as ever. Fincher’s trademark icy aesthetics and careful camera movements emphasize the killer’s precise and merciless demeanor. Cinematographer Erik Messerschmidt’s attention to detail, appreciation for a good sunset and ability to shoot in the dark make up a sharp visual display. The music and sound design are equally fine tuned; Trent Reznor and Atticus Ross’s bumping, adrenaline-pumping score works as the film’s motor.
Despite the film’s technical perfection and compelling lead character, the story isn’t nearly as twisted or thought-provoking as I’d like it to be. Perhaps the weakest aspect of the film, however, is the pacing. It opens with a long, establishing narration before plunging into a world tour. The stops on this journey vary significantly in excitement. The middle chapter, which features an awesome, kinetic and brutal fight scene, is immediately followed by the film’s most toned-down chapters. Where I wanted the pace to maintain momentum and ramp up to the ending, it came to a grinding halt. While I can understand some of these decisions are intended to match the killer’s arc, the conclusion felt slightly unrewarding.
Nevertheless, with Fincher at the helm of an impressive technical team, “The Killer” is a fun, breezy watch with a fantastic lead performance and incredible sequences. Its serviceable story, sprinkled with comedy and gorgeous visuals, overcomes its pacing issues and lackluster ending. I strongly suggest that Netflix promote its films in the future, especially when they aren’t provided the theatrical wide-release directors like Fincher warrant.
