Hey guys, what happened to indie comic book films? In the early to mid 2000’s we had what seemed like a golden era of film adaptations based off of independent comics (ie, not Marvel or DC.) and these movies were good. Like good enough to beati out much of their more mainstream comic movie counterparts. Films like Sin City, 300, Hellboy, and Scott Pilgrim Vs. The World showed many of us that there was a plethora of graphic novel goodness that existed outside of our beloved childhood superheroes. But these days, I’ve noticed, there’s definitely less of these types of movies being made. As much as I loved the MCU and defended some the DCU, it seems like their over saturation not only wore us out of superheroes, but comic movies in general.
That being said, I’m pretty excited by the release of The Killer, based off of the French comic “Le Tuerur” by Matz. Directed by the prolific master of thrillers David Fincher and starring Michael Fossbender as the titular character, The Killer follows an expert assassin with an impressive track record. At first we see into the monotony of waiting around for the perfect moment to target his hit, but when his latest job goes wrong, the assassin learns his employers can be less than forgiving. This leads The Killer on a cross continent quest for revenge. I’m going to warn you right now, if you’re the type that needs a fast paced action type of assassin film, this one is not for you. The deliberate slower pacing of the film brilliantly mimics the true nature of being a hitman, which as Fassbender’s character points out, is mostly waiting. I really appreciated this, as we’re treated with a wonderfully introspective look into a character that on the surface level, just seems blank and methodical.
It’s not the killing that is satisfying in this film, but the stalking, and conversations that happen right before each target’s death. Not to say there aren’t a good handful of masterfully shot action sequences, but the well written dialogue and performances far outshine them. (Coming from the guy who directed Fight Club and Seven, it’s absolutely no surprise.)
While the overall tone of The Killer remains as gritty as its source material, I appreciate how every location we visit (and there were a lot) has a different feel to it, matching the main character’s inner dialogue about each city well.
I only occasionally mention a movie’s soundtrack, but in this case I have to give a shout out. Part of the reason it gave me nostalgic vibes is the main character’s taste in music is an almost mirror copy of what I did back in my rebellious gothic days. Most likely on purpose, it matched well with the score by industrial music royalty Trent Reznor.
As I’ve mentioned, I appreciate the deliberately slow pacing of this film, but I have a feeling it may not be everyone’s cup of tea if they’re looking for a more James Bond-esque thriller. Despite this I’ll also warn that while it’s a narration heavy film, it’s very easy to miss what’s actually happening with the plot. It’s hard to describe, but as “chatty” as the narration can get, Fincher still brilliantly manages to show a lot more than he tells.
I certainly hope The Killer heralds the return of the indie comic book film. Not to say we’ve been deprived of indie comic adaptations with series such as The Walking Dead and The Boys becoming massively successful hits on the small screen. But there’s something magical about a single feature length film that really elevates the impact that these unique stories have on us.
