The work on the sound editing in particular is enormously impressive. The audio source changes with camera cuts or movements in the room, creating a subtly unsettling effect. This killer's mantra, repeated in his mind/voiceover, syncs perfectly with the editing. If the killer is interrupted in his stream of thought, the editing cuts and rhythm of The Killer change dramatically.

The film also has a very contemporary, documentary-like touch: we see the Killer using WeWork spaces, placing orders on Amazon, and grabbing food at McDonald's. While Fincher's twelfth feature film may age less gracefully than some other titles in his filmography, it's chilling. The act of killing becomes so routine, mundane, and trivial that it feels disturbingly real.

What I appreciated most about The Killer is that beneath the pop facade, with Smiths songs and characters using Google Maps, there's a continuous warning about the lack of security in our era, even more relevant for a sociopath than the time of American Psycho. The film is a revenge story that underscores how even a significant amount of money doesn't guarantee your safety in any way. Even the most predatory individuals fear that the retribution they mete out to their colleagues will return one day.

Fincher seems to suggest that it's not wealth that dooms you but rather a sense of entitlement that blinds you to the possibility of a killer in your kitchen, never even imagining that he could end your life.

Hit Man starring Glen Powell

HIT MAN by Richard Linklater
This movie is truly phenomenal, perhaps the best I've seen at Mostra and easily in the top five for 2023 overall. The screenplay to Hit Man is a work of wonder, something aspiring screenwriters should study meticulously, learning how a perfect script can seduce the audience. I'm startled to report that this movie, which should have been a contender for the Golden Lion is presented out of competition. Neverthless it possesses all the elements to become one of defining features of this year's Venice Film Festival.

So, what makes Hit Man so special? Well, let's just say that Linklater completely outshines even David Fincher in the latter's preferred genre. Hit Man may present itself initially as a comedy, but in the end, it emerges as a contemporary, darkly humorous noir. It challenges you to discern who is seducing whom and for what purpose. It also manages to revive the romantic comedy genre while maintaining a dark incredibly sexy undertone.

Gary, the protagonist of Hit Man played by Glen Powell, is initially perceived as a harmless man who works part-time for the New Orleans Police Department, handling tech-related tasks. He is suddenly asked to go undercover, playing the role of a hitman, to gather evidence of an impending murder and apprehend the suspects. Gary proves to be astonishingly adept at this role. As "Ron," the enigmatic hitman helping a woman who wishes to eliminate her husband, Gary becomes charismatic and sexy. He persuades Madison, the soon-to-be widow, to use the money she should pay him to escape her possessive husband and embark on a new life. Gary even starts to date Madison while still posing as Ron. His identity begins to blur: Is Ron the mask that Gary is wearing or did the hitman cover story help him discover his true self?

Adria Arjona and Glen Powell in "Hit Man"

Hit Man is also sizzling hot, featuring several playful sex scenes. The final intimate scene may seem somewhat vanilla, but when juxtaposed with the film's most cynical plot twist, it becomes the dark climax. At this point, the audience was practically begging to applaud, marking the most enthusiastic reaction I've experienced at a festival press screening.

One of Linklater's most brilliant decisions here is casting Glen Powell as the male protagonist. Until now, Powell might have seemed like a "Gary" among Hollywood actors, but in Hit Man, he truly becomes a "Ron." He delivers a star performance effortlessly shifting the character's aura, showing brilliant comic timing, and building irresistible chemistry with his co-star Adria Arjona. Unexpectedly, I'll be rooting for him in the Oscar race.

The Killer comes to US theaters in October followed by Netflix on November 10th. Hit Man has yet to secure US Distribution.