Instead of overloading his story with fussy layers, Fincher pares everything back to the genre’s essence.
What we’re left with is a killer and his conscience, or whatever he’s got that might pass for one. Somehow, in Fincher’s hands, that narrowed focus expands the genre’s possibilities rather than shrinking them—especially with an actor like Michael Fassbender at the center of it all, playing a radiantly ruthless killer with no name and no shame.
Or at least that’s what this murderer-for-hire wants us to believe. In the picture’s extended, languorous-but-taut opening, Fassbender’s character—let’s call him Nameless Killer Man—sets up shop in an abandoned Parisian WeWork space, training his sights on a particular window across the street, waiting for a chance to put a bullet in his mark. This means a lot of waiting, and we pass the time with Nameless Killer Man as he runs through an efficient set of yoga poses.
But at last, after more than a day of watching and waiting, stretched out in his upstairs lair, he thinks he’s got his shot—and hits the wrong person. Suddenly,bursts into a restrained fireball of controlled chaos; Fincher moves through every step of the plot with poetic precision. Nameless Killer Man must act fast. He zips off on a motorbike, disposing random bits of his weapon here and there, and at one point executing the classic vrooming-down-the-steps move.
Through it all, Fassbender makes a fine Nameless Killer Man with a Secret Conscience. In his finest sequence, he sits very still, listening closely to the person he loves best, absorbing the reality of just what this person endured to protect his Nameless Killer Man identity. The restrained anguish on his face tells us everything.
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