David Fincher finally gets a chance to deliver his passion project to the screen. Based on the graphic novel of the same name, Fincher has been working on getting this one made for a while.

A dark story, that definitely needs towards the noir, it follows a nameless character, referred to only as The Killer (Micheal Fassbender). We’re introduced to him in Paris, where he’s working on a target, waiting patiently for the opportunity to take it out.

He’s cold, methodical, and never makes things personal. When the opportunity presents itself, he misses the target, barely, and finds himself the target as his employer arranges for his removal following the flub.

Returning to his home in the Dominican Republic he keeps things safe, close, and his eyes open, only to discover that the assassins who are after him are making it personal, hurting someone very close to him. He backtracks globally, running down his employers, the assassins and the client, constantly telling himself not to make things personal, to follow the plan, to not improvise.

But is he reminding himself or chastising himself?

Broody, atmospheric and tightly paced Fassbender provides a near-constant voiceover to an almost silent performance. Fincher once again demonstrates his sharp use of editing, framing, and pacing. Neither he nor Fassbender’s character leads the audience around by the nose, the expectation is that one pays attention throughout the film, deducing and understanding the situation The Killer finds himself in as the narrative progresses.

Fassbender is fantastic, delivering a tightly restrained performance, his emotions conveyed only by his eyes and expressions. Watching how he deals with the problems that are presented to his character makes for some great beats and moments, the Florida sequence is really well done and has a number of moments to realize how quickly and brutally violence can erupt.

I love the fact that as The Killer travels, with a slew of identifications, each of his aliases is the patriarchal character on a television show.

There’s an atmospheric score by Trent Reznor and Atticus Ross works perfectly, but it is The Killer’s constant use of The Smiths that really gives the film an interesting style and pace. Finch also makes use of a strong cast led by Fassbender and supported by Charles Parnell, Tilda Swinton and Arliss Howard.

It’s a gritty, fantastically shot noir and it’s really something to watch Fassbender bring this assassin to life. The production and costume design really bring the world to life, and the global locations, keeping away from iconic expectations, really fill out the places The Killer lives and works.

This one is definitely worth checking out, and I’m sorry I missed seeing it on the big screen at TIFF.