As “The Killer” opens, Fassbender’s nameless hitman (he makes use of a number of aliases all through the flick, all of which appear to be the names of sitcom characters) is ready. And ready. And ready. It looks like a lot of his job is about sitting round, ready for the proper second to strike. He is camped out in a WeWork workplace (considered one of a number of brand-name areas that pop up all through the movie to conflict with the anonymous nature of its protagonist) in France, ready to kill his newest goal. Eventually, his alternative arises. He methodically prepares, assembling his weapon, stepping into place, taking purpose. After which — he botches it. The hit goes fallacious, and the Killer has to shortly get the hell out of there, which he does in thrilling style — a part of the movie’s enjoyable is in watching how Fincher and cinematographer Erik Messerschmidt current us with the principle character performing a sequence of duties effectively.
The Killer returns to his dwelling base within the Dominican Republic to search out that assassins in search of him have badly overwhelmed his girlfriend. Now he has an choice — he can simply stroll away, he is definitely ready for that and clearly has sufficient cash to do no matter he needs. As an alternative, he heads again to the U.S. on a state-hopping, blood-soaked journey to kill anybody who would possibly need to kill him.
Is he searching for revenge for the violence towards his girlfriend? No, I do not suppose so. The character is a sociopath so it isn’t clear how a lot he genuinely cares about his love curiosity. As an alternative, I believe this journey is all about smoothing over wrinkles; this man is a perfectionist, and outdoors influences have mussed up his standard routine. He cannot have that. Folks need to die so he can return to his standard lifestyle.