By Diego Patel and Fernando E. Juan Lima
Release Date 26-10-2023
Posted on 25-10-2023
From this Thursday, October 26, the new movie by Deadly sins, Fight Club and Zodiac, which 15 days later, from Friday, November 10, will be available on Netflix.
Killer, United States/2023). Director: David Fincher Cast: Michael Fassbender, Tilda Swinton, Charles Parnell, Arlis Howard, Kerry O’Malley, Sophie Charlotte, Sala Baker, Emiliano Pernia and Gabriel Polanco. Screenplay: Andrew Kevin Walker, based on the graphic novel series Killer, written by Alexis Nolent (aka Matz) and illustrated by Luc Jacquemon. Photo: Eric Messerschmidt. Editorial by Kirk Baxter. Production Design: Donald Graham. Composer: Trent Reznor and Atticus Ross. Stage distributor: Mako Cinema. Running time: 118 minutes. Theaters (first week): 9 (Multiplex Belgrano, Cinema Arte Cacudelvia, Atlas Caballetto, Atlas Patio Bolrich, Cinema San Martín de la Plata, Paseo Aldri de Mar del Plata, Sinis del Paseo de Mar del Plata, Sinis del Centro de Rosario and Nave Oncuyo de Mendoza). Available on Netflix from November 10.
Review 1, by Diego Patel
★★★1/2
Any analysis in life (and much more in the world of cinema) is characterized by previous expectations. If you’re expecting something great, finding something barely right can be frustrating. Conversely, if one is prepared for the worst, making it good or acceptable can be motivating or mitigating. After this line, Killer It can be considered a film that comfortably exceeds the technical average of a streaming service such as Netflix, but it is also a film that does not reach the best films of David Fincher.
Divided into chapters set in Paris, the Dominican Republic, New Orleans, Florida, Chicago and New York, this transfer of the graphic novels of the French Alexis “Matz” Nolint and Luc Jaccamon is of course a portrait of a man who is relentless, lonely and delicate assassin It is played with amazing precision and ice by Michael Fassbender.
The subgenre of killer movies is enormous and includes everything from John Woo’s movie of the same name with Zhao Yun Fat to The Perfect Killer, by Luc Besson with Jean Renault, passing by Ghost Dog: Samurai Roadby Jim Jarmusch with Forest Whitaker. Fincher takes the protagonist’s method and obsessions to unhealthy levels: physical and mental training, the Ten Commandments of how to carry out (in every sense of the word) his work, how to communicate, how to travel, how to get rid of used clothes and weapons, and even how to combat boredom (as we see in the opening scene).
But, no matter how much control you have over everything, there are always some unforeseen events, some accidents, some loose ending, something beyond plan and that’s when hostile forces are unleashed. And this is what happens to the anti-Fassbender hero, who must move from place to place, change his name, credit card, license plate, investigate and disarm plots against him, remove threats and defend himself. The pendulum journey that moves from attack to self-preservation and from defense to revenge.
there in Killer, of course, scenes of pure tension and official dexterity (Fincher’s sophisticated style was the subject of dozens of video articles and academic papers), and even the imposition of fistfights, but the film is, first of all, an existential image characterized by an ubiquitous and heartbreaking internal monologue and covered by many songs by The Smiths (by the way, one of the favorite bands of all time for this writer, so it adds half a point to the final rating).
Sometimes intoxicating to the point of addiction; in others, very cold and precious, The Killer also appeals to some ironic humor that makes him very conscious and tired, but even when he is on the edge of the familiar (even his title is very general) there is every shot of the director to save the text from his traps and clichés. On a dramatic and psychological level, the film may not be entirely convincing, the suggestive, fascinating and evocative power of Venture Cinema remains unchanged and can be enjoyed like no other in front of a giant screen.
Critique 2, by Fernando y Juan Lima
★★★✩✩
That Director Deadly sins He’s a skilled storyteller, it’s something about which there is some consensus. Even those who are not part of the extended fan club (at the press show, there was loud and unusual applause when his name appeared in the opening headlines) and, ironically, they remember The Strange Case of Benjamin Patton They do not question this circumstance.
and Killer Calculations for it. With a plot as predictable as it is simple, it must be said that Fincher has the necessary weapons to make us spend the two hours in which we will know everything that will happen from the 5th minute.
Michael Fassbender plays the role of the perfect killer. The narrative begins with the inner dialogue of the hero, which explains the form of his work, shows professionalism, narrowness and seriousness that deserves better reasons. While waiting for the appearance of the glueFrom your task, we learn what the work is like, all the precautions to take, how no personal element of the work should be compromised, etc. But everything can go wrong, and mistakes or accidents have consequences.
With some interesting and well-designed action scenes, the rest respond to the classic logic of reaction, aggression – revenge. Obviously, Venture was created by detracting more from accumulation and there’s something of a Class B ethos that goes back to “direct to VHS” (which later moved to “direct to DVD”, now it will be “direct to Netflix”…?). Towards the end, as a culmination on the cake, Fassbender’s one-man semi-show opens up a little for dialogue with the appearance of Tilda Swinton. This is always appreciated.
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