Review: ‘The Killer Is A Powerful SlowBurn Action Thriller

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14 Nov, 2023

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Review: ‘The Killer Is A Powerful SlowBurn Action Thriller

Netflix entered the awards race with the brutal and sometimes painful thriller Killer . The film's limited release (it's only been in small theaters for a week to qualify and score) helped the direction and slow action in this powerful slow-mo earn encouraging reviews on Netflix over the weekend. Thank you - Story.

The Killer Andrew is written by Kevin Walker ( Seven, Sleepy ), David Fincher ( Seven, Zodiac, Fight Club, The Social Network ) and Michael Fassbender ( 12 Years a Slave , The X-Men's Francis, The Hunger , Prometheus ). A graphic novel by Le Tueur. The series of the writer Matz (Alexis Nolent) and the artist Luc Giacom.

It's a wonderful family tree, yes. With a simple cat-and-revenge plot, the real joy in watching Fassbender's tense performance comes as the killer is reminded of his professional rules and regulations as the apocalyptic chills intensify. Hot revenge

While I often don't care for voice-over narration (it often feels like a lazy way to deliver exposition, or it's scripted and staged), Fassbender delivers Walker's lines in a precise, well-packaged and distant manner. There's a fine line between sadistic feelings and the symptoms of a heartless sociopath, and a sneer or a glare tips the balance ever so slightly one way or the other. It's a great show.

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However, like Roger Moore's 007, he had his presence, self-awarely firing his gun as each situation became more absurd and impossible. But Moore often nods to let us know he's in on the joke, while Fassbender never tells us it's a joke. He takes it very seriously; After all, it's a deadly thing. Fassbender shows a sense of exhaustion in the expansiveness and starkness of his life and work, even as he pushes them to their limits and redefines the story through his investment in his character's worldview and reality.

Fincher's direction is as perfect as ever. His attention to detail and how each small element heightens the tension and meaning of the space, the almost transcendental awareness and subtle rhythm, the way he brings out the best in the actors, make for an amazing performance that never ceases to amaze everyone. . Question: How can you improve this ? Still at the top of his beloved game, Fincher delivers a masterclass in suspenseful filmmaking, popping and shaking things underground until they explode outward and upward.

Look closely at Fassbender's eyes in the scenes where he sleeps: his eyes move, this is a fast sleep stage. If you wake up early and your alarm goes off, write down the time. He never talks about his sleep state or the reason for the "sleep" but insists on having a good night's sleep to stay alert. But he doesn't seem to sleep at night, he often sleeps during the day.

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Another type of sleep called "Uberman" is to help our bodies quickly enter REM sleep, which is what we need most, about 90 minutes of sleep per night for an average of 7-8 hours of sleep. Some people can adjust to a few long naps instead of sleeping all day and all night. This causes the body to immediately enter REM sleep, so three to four deep sleeps can provide the sleep you need, allowing for more than 20 hours of productive wakefulness each day.

Either way, it's a theory, and Fassbender's character seems to be using the theory. However, the movie doesn't say that, and shows more clues about the movie: even her (unnamed) character doesn't know that she really "cares" about her relationship with the only person in the movie. They are simply shown that relationship and how they live in their world and are left to draw their own conclusions from the scattered information we have.

This adds to the sense of a world that already existed and was inhabited. This is very important in this type of film, as films like this often seem overly stylized, creating a sterile and dull experience. The choice of false identities used to travel the underworld and navigate "normal" society (as the everyday world of ordinary people is called in the film) also adds color and subtext to various travel scenes and their backgrounds. .or the following sequences.

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In many action thrillers, the would-be killer faces a series of threats in order to reach a "top" of any plot involved, which serves as the starting point for a series of high-speed chases and bloody fights without leaving a trace. . . on the viewer and doesn't make sense or feel particularly well done. Killing means that when you take that kind of setup and foundation and put it in the hands of craftsmen and artists who elevate every aspect of leadership, the whole becomes greater than the sum of its parts.

You can call John Wick wise without noticing that his movies are dumb, but they can't make the movies you're talking about as Oscar contenders before they're even released. Don't: What they're great for: Adrenaline-fueled popcorn fun cars.

However, The Killer is more concerned with the consequences of killing and the lies we tell ourselves about our choices and mistakes, and weaves the story so that the slow moments are filled with urgency and tension and the action happens. It seems painful and disturbing to do so. You want it to stop . It is a function rather than a high art.

Wait, is The Killer a real movie? Produced and released by Netflix.

NFLX

distribution after two weeks of theatrical performance. According to many famous Hollywood directors, broadcast movies are "just" TV movies, not real movies.

To make matters worse, it's an adaptation of a deadly French comic book series, a genre that has stripped those strong lead voices of their true stance. So The Killer seems like a double whammy because it's not a real movie and it's not real art.

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Before you roll your eyes at me, at least answer the question. Is it a real movie or not? Isn't it real cinema and art? If you agree with the voices that say movies and comic book adaptations aren't true art or cinema, you can't ignore my point that it applies to Assassin , David Fincher, and Michael Fassbender.

The Assassin is a real movie, real cinema and art, even though it's a movie based on a comic book (it doesn't matter if we personally like the movie or not). To talk about art in general, it's wrong to belittle genres and those who work within them, and a more careful and thoughtful approach to discussing the issues would work much better and actually find consensus among those of us who are bored. They have hurled vague, superficial and completely false slanders against genres, media and artists.

The Assassins may not be Oscar favorites in the categories presented (although the film's editing and sound show love for the film). But with such a powerful story and acting, it's definitely worth a watch well done, and maybe some awards talk and a nomination for Fassbender's performance. Netflix is once again destroying the pretense that movies made and distributed by the streamer are as cinematic and authentic as those made by its competitors.