Is The Killer one of David Fincher’s most inconsequential movies?
We discuss the film’s subversive approach to the conventions of assassin cinema, Fincher’s clinical treatment of the subject matter, and the odd bursts of humour that he peppers through the two-hour narrative.
We also talk about Michael Fassbender’s statue-esque performance, and spend a considerable amount of time trying to decipher the meaning behind the meaninglessness.
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