The Killer

Amber Duke, Washington editor Talk to Me John Carpenter made some of the best horror movies of all time because his work did more than just try to scare the audience — it explored what really drives fear. Halloween toyed with the nature of evil. The Thing is a commentary on human isolation and the psychological effects of distrust and suspicion. That’s why Talk To Me, a 2023 horror flick from the much buzzed about studio A24, is so good. Yes, it’s about demonic possession and conjuring spirits, but at its core it’s a story about grief. Namely, the poor choices we can make when we miss someone so terribly and we just need a respite from the pain.

When David Fincher’s latest picture The Killer premiered at the Venice Film Festival in September, it was to a more muted reception than might have been anticipated. Part of this may have been because, with the actors’ strike very much in force, its stars Michael Fassbender and Tilda Swinton were nowhere to be seen, with Fincher himself the only A-lister on the red carpet. But it was also undoubtedly because the finished film was not remotely what many had anticipated. Early hype suggested that The Killer would follow the exploits of Fassbender’s anonymous assassin as he (inconveniently) develops a conscience, presumably setting up an existential quandary.

In the Nineties, David Fincher established himself as the cult director for a certain type of cineaste. After the misstep of Alien 3 (underrated, still not great), he came back triumphantly with the still-astonishing serial killer thriller Se7en, and then established his credentials with the millennial satire Fight Club. It was a box-office flop but attracted an immediate, fervent following who latched onto its director as a near-prophetic figure, capable of combining visual pizzazz acquired from his days as a music video director with a mordant, dark wit. He became one of those filmmakers who could simply be referred to by the initiated by his surname, like Scorsese or Spielberg.