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The Killer (David Fincher)

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  • Registered Users Posts: 2,495 ✭✭✭Shred


    Some of the screens in Movies @ Swords, screen 5 in particular, are ruined by this too; the exit signs are mounted at right angles to the screen and bleed all over it completely washing out both corners. I purposely won’t go there if what I want to see is on in that screen. It’d be so simple to resolve - just mount a plate on the screen side of both signs and they’ll still be 100% viewable to anyone in the room from a safety perspective and wouldn’t block the screen either.



  • Registered Users Posts: 20,643 ✭✭✭✭2smiggy


    decent film. nothing spectacular, but a solid 7/10. kept me entertained through out



  • Moderators, Category Moderators, Entertainment Moderators Posts: 36,634 CMod ✭✭✭✭pixelburp


    With a key difference being Haywire wasn't a complete and constant fúck up like The Killer was.

    Strip the voiceover away and this would have presented a much different film IMO; the mantra kinda camouflaged the fact every action taken kept blowing up in The Killer's face 😂



  • Registered Users Posts: 4,154 ✭✭✭Did you smash it


    spoiler…


    the films do remind me of each other. The problem I have with the killer is the boss of a of the killer taking the decision that the killer had to be neutralized when the client didn’t have a problem.



  • Registered Users Posts: 4,136 ✭✭✭chicorytip


    I've not visited a cinema in years. Do they still turn the house lights on just as the credits begin to roll ? Drove me mad.



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  • Registered Users Posts: 574 ✭✭✭iffandonlyif


    It would still be an issue for me because I find it very distracting if it’s in my peripheral vision

    I’m in Germany at the moment, a maddeningly bureaucratic country, but none of the five or six screens I’ve been in has had an exit light near the screen. It just seems to me that a serious country says, Look, I know we want to ensure safety, but it’s just not credible to have an exit sign beside a cinema screen!



  • Registered Users Posts: 7,025 ✭✭✭homerun_homer


    I don't think it happens all the time now, but that used to drive me mad as well. On par with Netflix not letting the credits play without prompting what to watch next.



  • Registered Users Posts: 28,484 ✭✭✭✭murpho999


    Best part of this movie for me was trying to guess who the next famous US sitcom character he would use as an alias when travelling.

    Apart from Fincher's direction style this film had very little substance and no soul.



  • Registered Users Posts: 28,484 ✭✭✭✭murpho999


    Sorry whilst I agree that fire exit lights in cinemas is not good , there's no need to criticise the country as I've experienced the same issue in other countries.



  • Registered Users Posts: 881 ✭✭✭El Duda


    The Killer – 7/10

    This appears to be David Fincher’s response to some of the less than favourable Mank critique. Mank stank, so it’s good to see him return to something a bit more familiar. He brings his playful side out and sprinkles a few bits of humour in here and there. I think what we see at times is Fincher deconstructing his own work and punctuating it with a bit of self-deprecating humour.

    One-word springs to mind when watching this film. Slick. Fassbender, the cinematography, the use of The Smiths back catalogue, the score, the editing. It’s all just incredibly slick. The ending is abrupt but there’s a great set piece not long before, featuring Tilda Swinton, that felt like it should have been the real ending.

    I file it alongside Sicario, Hell or High Water and You Were Never Really Here as the sort of mid-budget thriller that we don’t get enough of these days. Though I struggle to shake the feeling that Fincher is capable of better.



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  • Moderators, Category Moderators, Entertainment Moderators Posts: 36,634 CMod ✭✭✭✭pixelburp


    I file it alongside Sicario, Hell or High Water and You Were Never Really Here as the sort of mid-budget thriller that we don’t get enough of these days. Though I struggle to shake the feeling that Fincher is capable of better.

    I think Fincher's Netflix work has had the smell of hands-off noodling about with any old script the director couldn't let go off; his slush pile of potential projects is kinda infamous but obviously this and Mank were the two Netflix liked enough to write their blank cheques.

    Couldn't imagine either project being greenlit at another studio, not without some heavy edits or suggestions (though whether Fincher would take those on board is another matter). For sure Fincher can do better, cos we've certainly seen his heights with Social Network and Zodiac - while even his throwaway stuff has tended to be more watchable entertaining, like Panic Room or the Girl with the Dragon Tattoo.



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