Based on a French graphic novel by the same name, The Killer follows the story of an assassin who battles his employers after an assasination gone wrong. The story here might seem to be wafer thin on its plot, mostly being one-dimensional, but the style and presentation of the thriller laced with dead-pan monologues and some dry humour infused in its narrative that really sparkle through and through. The screenplay standing at a shade under 2 hours does make for a compelling viewing other than the anti-climactic final act that does lessen the impact of the film, overall.

The drama is tactfully divided into chapters, with each chapter dedicated to a new place and a person(with a gentle tonal shift too) who is the center of focus for the ‘Killer’. The drama kicks off in spectacular fashion in Paris where a seemingly unassuming individual referred to as The Killer is keenly awaiting the arrival of his target. There is a psychological monologue that acconpanies the narrative with little to no lines exchanged between any characters. The atmosphere of intrigue is intricately created in a simmering buildup to the eventual incident. In between, you are witness to the protagonist prepping for his ‘target’ while leaving no ‘crumbs’ behind. This is symbolic of the burger from McDonalds that he carefully chews without dropping any bread crumbs. His hands are always covered with rubber gloves, and always in position for the eventuality. This until, the assassination goes wrong leading to mayhem.

The proceedings are cerebral and moody playing with the atmosphere in a rather unassuming manner. This styled narrative makes up for the predictable screenplay which often follows a one-tone narrative. The fun lies in its dead-pan style, most of which contributes to the eventual killings. There is an unflickering focus in the narrative that doesn’t digress from the drama at hand, and that is something that consistently keeps you invested. On top of that, you have a protagonist who is a man of few words and expressions that always believes in ‘Sticking To The Plan’. All of these factors pique your interests in a drama that nicely heads to a promising final act.

The rise of the body count continues in the events leading to its final act. And the final act here is just a huge anti-climax that it made me wonder on why a filmmaker like Fincher would opt for an understated ending which would have zero payback to the proceedings that had unfolded until then. I think a final face-off was the need of the hour that simply did not arrive. I am sure that people would be divided on its ending and unfortunately, that didn’t stick well with me. But barring the end, the screenplay plays well with the dead-pan style and the atmospherics to die for.