Dog eat dog Kill or be killed No trust in mankind Don't be remembered Don't trust Discipline Meticulousness Logistics method Music to prevent the mind from wandering Serve neither causes nor God nor flags No to empathy, empathy is weakness and weakness is vulnerability Don't improvise Play early Stick to plans The only path in life is the one behind you.
To be a good killer you need to follow strict rules with a margin of error as close to zero as possible, expected but not admissible.
In an initial twenty-minute voice-over monologue and with an almost line-free performance for two hours of film, Fassbender, directed by Fincher, delves into the dark abyss of a character made of shadows, silences and a maniacal control of emotions to present and return an absence of life, in perfect synchrony and coherence with one who takes life away.
The prologue is of such remarkable cinematic power that everything else goes without saying and flows anyway because it exploits the propulsive force of the beginning which is enough and goes on.
Michael Fassbender is an infallible killer, from his hotel window he waits for his target, a routine now. Everything is planned, as usual. But the unforeseeable happens: the killer gets the wrong target and begins an escape, in which he will discover that all the rules he created, after being broken, open up a new perspective on life.
David Fincher proves once again that he is a formidable director and that he focuses on increasingly complex aspects of man
