by Josh Sewell
The Killer
(Rated R for strong violence, language and brief sexuality. Now playing in select theaters and streaming on Netflix starting November 10.)
After a lengthy detour into prestige television (Mindhunter) and awards bait (Mank), brilliant filmmaker David Fincher is back in his sweet spot with The Killer, a darkly comedic thriller about a revenge-fueled assassin. He’s also working with screenwriter Andrew Kevin Walker (who adapts the acclaimed French graphic novel) for the first time since they collaborated on the 1995 classic Seven. For the most part, their reunion turns out to be a successful one.
Michael Fassbender stars as an unnamed hitman (he’s listed as “The Killer” in the end credits), who we meet as he’s preparing for an important job in Paris. The funny, methodically paced opening sequence lets viewers know right away this isn’t a world of cool, sexy assassins wearing expensive suits and utilizing hi-tech gadgets. It’s a lot of waiting while the protagonist constantly monologues to himself (and us) via voiceover to pass the time.
He talks a big game about patience, precision and eliminating margins of error, but things fall apart fast once his target appears. When his employer tries to exact a penalty for his error, the hitman breaks his own rules (don’t take things personally, don’t show empathy, always be methodical, etc.) by embarking on a mission to wipe out everyone involved in his attempted punishment.
The Killer reminded me a lot of Fincher’s Panic Room – in a good way. It’s a simple, straightforward thriller crafted by one of the most gifted directors of our time. Sort of like Picasso presenting you with one of the best paint-by-numbers ever made. It’s the kind of mainstream, yet slightly off-kilter flick that would’ve been a solid theatrical success in the pre-streaming era.
Instead, viewers in major cities will get to see it on the big screen for a couple of weeks before it hits Netflix. In all likelihood, it’ll get buried under old television shows like Suits and forgettable direct-to-streaming holiday fare. That’s a shame considering the film boasts excellent performances from Fassbender and Tilda Swinton, some fantastic fight choreography, a terrific soundtrack (mostly The Smiths) and razor-sharp dialogue courtesy of Walker.
As always, Fincher and Walker make some intriguing creative choices that keep The Killer from being a generic hitman story. While that might alienate Netflix viewers who prefer bland, predictable stuff they can sort-of pay attention to while staring at their phones, it’s what makes the movie worth watching.
Grade: B+
Five Nights at Freddy’s
(Rated PG-13 for strong violent content, bloody images and language. Now playing in theaters and streaming on Peacock.)
Five Nights at Freddy’s, the movie adaptation of the wildly successful video game series (which also spawned a series of bestselling books and a ton of merchandise), is one of the most puzzling viewing experiences I’ve had in quite some time. The opening moments establish the horror flick speaks a language I don’t understand. But I’m not supposed to – this is a movie aimed directly at hardcore fans (primarily kids and older teens who grew up playing the games) with no concern about explaining the story’s complex lore to outsiders like me.
Let me be clear: I have no problem with that. All movies shouldn’t be for everyone. Some stuff isn’t designed for me and that’s okay. More than okay, considering the film’s staggering box office haul last weekend. In other words, keep in mind this review is from the perspective of an outsider who stumbled into the flick without a working knowledge of the countless games and books that are referenced in it.
FNAF follows Mike (Josh Hutcherson) a troubled, out-of-work guy caring for his 10-year-old sister Abby (Piper Rubio) and traumatized by the abduction of his younger brother more than a decade ago. Desperate for a new job, he agrees to be the security guard at Freddy Fazbear’s Pizzeria, an abandoned family restaurant (think a creepier version of Showbiz Pizza, the predecessor of Chuck E. Cheese) with an owner too sentimental to tear it down. At least that’s the cover story – turns out the restaurant is ground zero for unexplainable, nightmarish encounters with supernatural monsters.
I won’t lie: as the end credits rolled (complete with a Marvel-style tease for the inevitable sequel), my immediate reaction to the flick was, “What the fuck did I just watch?” I jumped onto social media to check out other people’s thoughts and quickly discovered that other old folks like me were also baffled by FNAF, but kids and teens (the target demo) absolutely loved it.
It reminded me of the scene in Back to the Future when Marty McFly introduced heavy metal to 1950s-era high schoolers: “I guess you’re not ready for that yet. But your kids are gonna love it.” Although I didn’t enjoy the flick, it wasn’t a total waste. The lack of CGI was refreshing, courtesy of animatronic creatures designed by the Jim Henson Company.
I also loved Matthew Lillard (best known for Scream and Scooby-Doo) in his brief but pivotal role. He seems like the only actor who understands the bonkers movie he’s in and modulates his performance accordingly. It’s a side of him we haven’t seen in a while, but it was great to be reminded what a blast he is when playing a smarmy guy with a secret.
I don’t want to be the guy who yuks somebody else’s yum, so I’ll be nice. If you aren’t already a fan of the FNAF franchise, this movie won’t do much to change your mind. For the folks in my camp, I recommend checking out 2021’s Willy’s Wonderland instead. In hindsight, it’s absolutely a rip-off of this beloved property. But it stars Nicolas Cage, the gore is R-rated and everyone involved embraces the cheese instead of taking it so damn seriously.
Grade: D
(Rated R for strong violence, language and brief sexuality. Now playing in select theaters and streaming on Netflix starting November 10.)
After a lengthy detour into prestige television (Mindhunter) and awards bait (Mank), brilliant filmmaker David Fincher is back in his sweet spot with The Killer, a darkly comedic thriller about a revenge-fueled assassin. He’s also working with screenwriter Andrew Kevin Walker (who adapts the acclaimed French graphic novel) for the first time since they collaborated on the 1995 classic Seven. For the most part, their reunion turns out to be a successful one.
Michael Fassbender stars as an unnamed hitman (he’s listed as “The Killer” in the end credits), who we meet as he’s preparing for an important job in Paris. The funny, methodically paced opening sequence lets viewers know right away this isn’t a world of cool, sexy assassins wearing expensive suits and utilizing hi-tech gadgets. It’s a lot of waiting while the protagonist constantly monologues to himself (and us) via voiceover to pass the time.
He talks a big game about patience, precision and eliminating margins of error, but things fall apart fast once his target appears. When his employer tries to exact a penalty for his error, the hitman breaks his own rules (don’t take things personally, don’t show empathy, always be methodical, etc.) by embarking on a mission to wipe out everyone involved in his attempted punishment.
The Killer reminded me a lot of Fincher’s Panic Room – in a good way. It’s a simple, straightforward thriller crafted by one of the most gifted directors of our time. Sort of like Picasso presenting you with one of the best paint-by-numbers ever made. It’s the kind of mainstream, yet slightly off-kilter flick that would’ve been a solid theatrical success in the pre-streaming era.
Instead, viewers in major cities will get to see it on the big screen for a couple of weeks before it hits Netflix. In all likelihood, it’ll get buried under old television shows like Suits and forgettable direct-to-streaming holiday fare. That’s a shame considering the film boasts excellent performances from Fassbender and Tilda Swinton, some fantastic fight choreography, a terrific soundtrack (mostly The Smiths) and razor-sharp dialogue courtesy of Walker.
As always, Fincher and Walker make some intriguing creative choices that keep The Killer from being a generic hitman story. While that might alienate Netflix viewers who prefer bland, predictable stuff they can sort-of pay attention to while staring at their phones, it’s what makes the movie worth watching.
Grade: B+
(Rated PG-13 for strong violent content, bloody images and language. Now playing in theaters and streaming on Peacock.)
Five Nights at Freddy’s, the movie adaptation of the wildly successful video game series (which also spawned a series of bestselling books and a ton of merchandise), is one of the most puzzling viewing experiences I’ve had in quite some time. The opening moments establish the horror flick speaks a language I don’t understand. But I’m not supposed to – this is a movie aimed directly at hardcore fans (primarily kids and older teens who grew up playing the games) with no concern about explaining the story’s complex lore to outsiders like me.
Let me be clear: I have no problem with that. All movies shouldn’t be for everyone. Some stuff isn’t designed for me and that’s okay. More than okay, considering the film’s staggering box office haul last weekend. In other words, keep in mind this review is from the perspective of an outsider who stumbled into the flick without a working knowledge of the countless games and books that are referenced in it.
FNAF follows Mike (Josh Hutcherson) a troubled, out-of-work guy caring for his 10-year-old sister Abby (Piper Rubio) and traumatized by the abduction of his younger brother more than a decade ago. Desperate for a new job, he agrees to be the security guard at Freddy Fazbear’s Pizzeria, an abandoned family restaurant (think a creepier version of Showbiz Pizza, the predecessor of Chuck E. Cheese) with an owner too sentimental to tear it down. At least that’s the cover story – turns out the restaurant is ground zero for unexplainable, nightmarish encounters with supernatural monsters.
I won’t lie: as the end credits rolled (complete with a Marvel-style tease for the inevitable sequel), my immediate reaction to the flick was, “What the fuck did I just watch?” I jumped onto social media to check out other people’s thoughts and quickly discovered that other old folks like me were also baffled by FNAF, but kids and teens (the target demo) absolutely loved it.
It reminded me of the scene in Back to the Future when Marty McFly introduced heavy metal to 1950s-era high schoolers: “I guess you’re not ready for that yet. But your kids are gonna love it.” Although I didn’t enjoy the flick, it wasn’t a total waste. The lack of CGI was refreshing, courtesy of animatronic creatures designed by the Jim Henson Company.
I also loved Matthew Lillard (best known for Scream and Scooby-Doo) in his brief but pivotal role. He seems like the only actor who understands the bonkers movie he’s in and modulates his performance accordingly. It’s a side of him we haven’t seen in a while, but it was great to be reminded what a blast he is when playing a smarmy guy with a secret.
I don’t want to be the guy who yuks somebody else’s yum, so I’ll be nice. If you aren’t already a fan of the FNAF franchise, this movie won’t do much to change your mind. For the folks in my camp, I recommend checking out 2021’s Willy’s Wonderland instead. In hindsight, it’s absolutely a rip-off of this beloved property. But it stars Nicolas Cage, the gore is R-rated and everyone involved embraces the cheese instead of taking it so damn seriously.
Grade: D
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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