The Killer covertly subverts the genre, work culture, and itself. The protagonist is a phony, its intensity is undermined by bureaucracy, and emotions are purposely routine. Instead of a sympathetic super-assassin navigating an intriguing underworld, we get a working stiff antihero who realizes his job is oddly ordinary. Self-serious themes of nihilism, perfectionism, and patience are increasingly contradicted. The acting nails this subtle self-awareness through physicality, speech, range, layers, chemistry, growth, and facial cues. Overall, The Killer satirizes the importance of power, money, and ourselves by pointing out that even the most exciting person is just another schlub.
Technically, The Killer uniquely blends detail and sarcasm. The sleek imagery uses focus, lighting, motion, palette, composition, angles, and POVs. Its editing has pacing, montages, inserts, tension, dissolves, action, and jump cuts. The sound provides voiceovers, ringing, emphasis, perspective, atmosphere, combat, and echoes. Its music combines moody scoring with contrasting yet thematic needle drops. The globe-trotting production design adds modern classism, professionalism, and monotony. Its cast is moderately famous, but skilled and fitting. The effects offer impressive stunts, minor CGI, and injury makeup. Thus, The Killer holds hidden depth for those willing to hunt for it.
Writing: 9/10
Direction: 10/10
Cinematography: 9/10
Acting: 10/10
Editing: 9/10
Sound: 9/10
Score/Soundtrack: 9/10
Production Design: 8/10
Casting: 7/10
Effects: 7/10
Overall Score: 8.7/10
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