David Fincher on the set of ‘Mank’. Photo: Gisele Schmidt/Netflix.
Preview:
David Fincher is reportedly aboard a new western called ‘Bitterroot’.
Michael Gilio wrote the script, which appeared on the 2008 Black List
Netflix has yet to confirm Fincher’s attachment.
It’s fair to say that the Western is having a mixed time in terms of success at the moment. While Taylor Sheridan’s modern-day take on the genre ‘Yellowstone’ (and its period set prequels) have been doing great business, Kevin Costner (who effectively left the parent ‘Yellowstone’ series to pursue his passion project) has seen giant Western saga ‘Horizon’ stumble at the box office, with theatrical plans for the second film in the franchise currently on hold.
Despite that, it appears David Fincher may be ready to try his hand at an oater, with What’s On Netflix reporting that he’s on board for a Western called ‘Bitterroot.’
‘Dungeons & Dragons: Honor Among Thieves’ from Paramount Pictures and eOne.
Michael Gilio, who also wrote the script draft that got ‘Dungeons & Dragons: Honor Among Thieves’ into development, crafted ‘Bitterroot,’ which hit the 2008 Black List when it was originally titled ‘Big Hole.’
The movie’s premise apparently concerns an elderly rancher whose life savings have been stolen.
He sets out to get his money back by robbing banks and hunting down the thieves — all while being pursued by his son, who is the sheriff. Compelling, eh?!
Comparisons have been made to Clint Eastwood classic ‘Unforgiven,’ so even with the riskier marketplace, this is a script that will surely be mad at some point. And it’s perhaps not surprising that given its long lifespan in the Hollywood marketplace, there has been at least one previous attempt to bring it to screens. Blind Wink Productions and Aversano Films were working on it with Gilio on board to both write and direct and Gore Verbinski to produce back in 2011.
We’ll caution at this point that Netflix has yet to officially comment on the possibility, though this appears –– according to What’s On Netflix’s sources –– to be coming together quickly, with casting offers out to potential stars.
What else is Fincher developing?
(L to R) Gary Oldman and David Fincher on the set of ‘Mank’. Photo: Miles Crist/Netflix.
The ever-busy filmmaker, who last directed ‘The Killer’ for the streaming service, has a couple of other irons in the Netflix fire.
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There is a US version of ‘Squid Game’ that is awaiting approval from the company (budget issues are reportedly a sticking point, though you’ve got to imagine Netflix would look to get this made given the original series’ popularity).
And also? Fincher has been circling a ‘Chinatown’ prequel series that would follow the story before the classic movie.
On the movie front, the director has an untitled crime thriller at an early stage of development, but details are naturally scarce.
(L to R) David Fincher and Gary Oldman on the set of ‘Mank’. Photo: Miles Crist/Netflix.
On Netflix beginning November 10th, ‘The Killer’ marks David Fincher’s latest collaboration with the streaming service, a methodical revenge thriller that sees Michael Fassbender as the title figure, a man on a mission after his latest job goes awry.
As per usual with Fincher, this is as carefully constructed as its central character, though it might leave some wishing for a little more excitement in places.
The last time David Fincher shot something for big (and ultimately small, given Netflix’s cinema-then-server policy with its big movie scores), we got ‘Mank,’ which felt like something different for the director.
That one was bursting with huge personalities, a romantic storyline and a compelling if cynical love for old Hollywood. For ‘The Killer’ however, Fincher has dialed the needle back to his more usual stock-in trade, cold-blooded, full-power cynicism.
This is a man, after all, who made the likes of ‘Se7en’, ‘Fight Club’ and ‘The Social Network’, which all blended his rigorous approach to filmmaking with compelling characters at their heart. Michael Fassbender’s unnamed central figure here just about fits into that category with his various quirks and occupational theorizing –– you might find yourself, however wishing for something more to connect to.
‘The Killer’ reunites Fincher with one of his best collaborators, Andrew Kevin Walker, who wrote the screenplay for ‘Seven’. The pair relishes the chances to take another shot at poking around the darker, grubbier corners of life. Though their previous team-up focused on the law enforcement side of things, this new outing is firmly on the side of someone breaking the rules, albeit with his own strict code.
Walker’s script is precise and darkly funny in its way, primarily comprised of internal monologues from Fassbender’s fastidious assassin, who has several repeating mantras, including about anticipating not improvising, and how empathy is weakness.
While we spend most of our time with the character, there are the bursts of activity once his latest job goes bad and the repercussions hit close to home for him (though you do find yourself wondering why someone who seems to against connections in the world because of the baggage they bring was able to make some).
And as usual with David Fincher, the direction is beyond reproach, starkly color washed and full of interest in every frame. As Fassbender’s killer goes globe-trotting on his vengeful quest, we’re treated to some fantastic sights, including fancy restaurants and a billionaire’s very private (though not quite enough) penthouse.
He finds a way to bring the character’s world to life with his usual dark vibrancy, all metallic sheen and well-composed frames. Not a shot is wasted, and the craft at work is clear. The idea that the killer uses music from The Smiths to blot out the distractions of the world is an interesting one (perhaps, given his pessimistic worldview these days, Morrissey might even appreciate it) and adds another subtle layer of humor.
The director’s regular musical team Trent Reznor and Atticus Ross meanwhile, provide a subtle score that complements the visuals.
Michael Fassbender is at the core of this film, his dry (by choice and need) delivery of the killer’s monologues given just the right amount of snark. And when called upon to show his particular set of skills, the actor (who was lured out if a long break from acting for this juicy role) is more than up to the task, watchable when in silent preparation for an assassination or throwing down with a hulking henchman.
There’s also the chance for him to face off against some great actors, his encounter with Charles Parnell’s lawyer/boss/mentor figure one for the ages and, without giving too much away, involving creative use of a nail gun.
Tilda Swinton, meanwhile, is able to prove she’s still among the best, interacting with our man in more cerebral fashion, telling a solid joke about a hunter and a bear and ultimately coming across perfectly as someone who has found that putting their morals and ethics aside was surprisingly easy when the pay is right.
Elsewhere, the smaller roles are effectively filled, even as you mostly just view them in relation to Fassbender. As he tends to, the director has a good eye for interesting people in supporting roles, filling out the world in such a way as you believe it.
This new David Fincher movie will certainly please his regular fans, even if it doesn’t always quite live up to the standards of previous work. There’s a cold aloofness here that might also turn off more casual viewers (though if you’re sitting down to watch a movie called ‘The Killer’, you likely know what you’re in for).
The opening segment (the movie is split into neatly organized chapters, which would surely appeal to the persnickety pistol packer) at its heart is entertaining but does require a patience level as high as our antihero, since it truly takes its time to get to the point.
Still, if we can’t have more ‘Mindhunter’ on Netflix, at least it’s reassuring to know that David Fincher is keeping busy, and this also represents a welcome return for Michael Fassbender. Completely on target? Not always, but certainly well aimed for the most part.
‘The Killer’ receives 7.5 out of 10 stars.
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What’s the story of ‘The Killer’?
An unnamed man in unremarkable clothes, The Killer (Michael Fassbender) watches from the floor of an empty office, across from the plush apartment of his target, rifle at hand. Measured, controlled, he takes every step to ensure the job goes flawlessly…
It doesn’t.
The Killer flees, following his strict personal mantra of dispassionate action. But his employers want him erased. By attacking his home, they disturb his sanctuary and, with it, his sense of self. This – he will not abide, traveling through the Dominican Republic and the United States, eliminating anyone who might disrupt his hard-won peace again.
Since then, the company has produced hundreds of original movies including the Oscar nominated ‘Roma‘ and ‘Marriage Story,’ as well as popular films like ‘Bird Box‘ and ‘Red Notice.’
Moviefone has compiled a list below of the 10 best Netflix Original Movies of all time.
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Directed by Aaron Sorkin, what was intended to be a peaceful protest at the 1968 Democratic National Convention turned into a violent clash with police and the National Guard. The organizers of the protest including Abbie Hoffman (Sacha Baron Cohen), Jerry Rubin (Jeremy Strong), Tom Hayden (Eddie Redmayne) and Bobby Seale (Yahya Abdul-Mateen II) charged with conspiracy to incite a riot and the trial that followed was one of the most notorious in history.
Directed by Spike Lee, four African-American Vietnam veterans (Delroy Lindo, Clarke Peters, Norm Lewis, Isiah Whitlock Jr.) return to Vietnam. They are in search of the remains of their fallen squad leader (Chadwick Boseman) and the promise of buried treasure. These heroes battle forces of humanity and nature while confronted by the lasting ravages of the immorality of the Vietnam War.
Directed by Martin Scorsese, in 1956 Pennsylvania, Frank Sheeran (Robert De Niro), a war veteran of Irish origin who works as a truck driver, accidentally meets mobster Russell Bufalino (Joe Peci). Once Frank becomes his trusted man, Bufalino sends him to Chicago with the task of helping Jimmy Hoffa (Al Pacino), a powerful union leader related to organized crime, with whom Frank will maintain a close friendship for nearly twenty years.
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A documentary about Hollywood veteran Bing Russell (Kurt‘s father), who creates the only independent baseball team in the country—alarming the baseball establishment and sparking the meteoric rise of the 1970s Portland Mavericks.
David Fincher is taking advantage of the friends he’s made at Netflix (via “House of Cards” and “Mindhunter”) to make a long-gestating dream project.
Fincher is teaming up with star Gary Oldman for a biopic about Herman Mankiewicz, the journalist-turned-co-screenwriter of “Citizen Kane.”
Netflix has given the greenlight to “Mank” (the writer’s nickname), which will be shot in black and white for a classic Old Hollywood look.
The project has been in the works for 20 years. Fincher initially wanted to tackle it after making his 1997 feature “The Game.” The director’s late father, the journalist Jack Fincher, wrote the script.
Mankiewicz was a reporter and a critic in the 1920s, as well as a member of the fame literary club the Algonquin Round Table. Paramount recruited him to Hollywood to write scripts, and he worked on films including “The Wizard of Oz,” “Pride of the Yankees,” and “Gentlemen Prefer Blondes.”
Then, he became embroiled in an infamous feud with Orson Welles over “Citizen Kane.” Mankiewicz accused Welles of trying to claim sole credit for the script.
When “Citizen Kane” won the Oscar for best original screenplay, Mankiewicz’s supporters chanted, “Mank, Mank, Mank.” Both men received a trophy, though neither attended the ceremony.
This will be Fincher’s first feature film since 2014’s “Gone Girl.” He directed four episodes of Netflix’s serial killer thriller “Mindhunter.” There were plans for the director to make a follow-up to “World War Z,” but that project was killed over budget issues.
Oldman won an Oscar for portraying Winston Churchill in 2017’s “The Darkest Hour.” He can next be seen in Steven Soderbergh’s “The Laundromat” opposite Meryl Streep.
