The Killer (2023)

Direction: David Fincher
Country: USA

The Killer, David Fincher's 12th feature film, further solidifies the director's reputation for delivering exceptional thrillers. Known for his masterful work in films such as Se7en (1995), Zodiac (2007), Gone Girl (2014), and Fight Club (1999), Fincher explores the world of a cold-blooded hitman. Michael Fassbender, in his first collaboration with Fincher, takes on the role of the meticulous and perfectionist assassin, delivering a performance that matches the film's somber mood. Adapted from the French comic book Le Tueur and co-written by Fincher and Andrew Kevin Walker, the storyline follows the hitman's journey from Paris to the Dominican Republic, New Orleans, Florida, and finally, Chicago.

The film skillfully explores the dehumanization and vulnerabilities of the assassin, who adheres to a strict credo, repeating it in his head to suppress any emotion or empathy. The supporting cast, including Charles Parnell, Sala Baker, Tilda Swinton, and Arliss Howard, adds depth to the narrative, with each character playing a crucial role in this mysterious man's obsessive mission. The voyeurism of the first part is hypnotic and entices the viewers for what comes next in a simple tale enhanced by the music of the English rock band The Smiths. 

It feels like Fincher, with his slyly calibrated moves, wants to deconstruct Hollywood clichés. He makes a shift in the way he returns to the genre, keeping the audiences suspicious and attentive to every possibly relevant detail. Even if they take us nowhere, one still enjoys this restless feeling and unbending tension throughout. In turn, Fassbender’s stoic and icy performance conveys the protagonist’s patience and determination but also his rigidness and mercilessness. While some may expect more from this dark revenge thriller, the result doesn't disappoint.

Mank (2020)

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Direction: David Fincher
Country: USA

Mank recreates the dispute over the writing credits of the 1941 masterpiece Citizen Kane. The adversaries in this contend are director Orson Welles and screenwriter Herman Mankiewicz. The film, shot in classic black-and-white and evoking Hollywood in the 1930s, is not only about the friction between these two talents but rather a biographical drama centered in the polemic, washed up and alcoholic Mankiewicz (shortened Mank), brilliantly portrayed by Gary Oldman (Darkest Hour; Tinker Tailor Soldier Spy). 

After a car accident, the plain-spoken Mank is taken to a house to recover from the injuries. Rushed by an avid Orson Welles to write something in 60 days for him to direct, he is put under the care of a nurse and a self-assured British typewriter, Rita (Lily Collins), who, in the course of time, gets to better understand his weaknesses and strengths. Through flashbacks, Mank reinforces his discontentment with the hypocrisy and games of interest lived in the movie industry, recalling several situations with the friend-turned-foe actress Marion Davies (Amanda Seyfried), his younger brother - the director Joseph L. Mankiewicz (Tom Pelphrey), the MGM boss Louis B. Mayer (Arliss Howard), and the newspaper publisher and influential businessman William Hearst (Charles Dance), whose life story inspired the writings of Citizen Kane.

Directing for the first time in six years, David Fincher (Seven; The Game; Fight Club) works from a screenplay by his late father, Jack Fincher. The film, also working as a homage to the latter, can be considerably dense and cathartic at times, with many characters and subtle lines that may not be obvious to the common viewer. Yet, it still exudes an untiring energy all the way through. Against all and everything, Mank refused to change the script that earned him an Oscar, and more than that, he didn’t give up from the recognition he deserved. His frankness is remembered in this well-acted biographical drama, which, even not as bold as other Fincher’s films, is stylish and passionately crafted.

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