Hit Man

Maverick filmmaker Richard Linklater returns to live-action after his overlooked retro-animated Apollo 10 1/2 with Hit Man, a cleverly scripted romantic action comedy that is highly enjoyable with a charismatic and versatile lead performance by rising-star Glen Powell, who continues his leading man momentum that will carry through the summer with the upcoming Twisters film. Let’s not forget that Glen Powel and Richard Linklater have collaborated before, as Powell has now appeared in three other Linklater films that include Fast Food Nation, Everybody Wants Some, and Apollo 10 1/2. They clearly enjoy working with each other and they make a terrific collaborative duo.

The script, also co-written by Powell and Linklater, is based on the 2001 Texas Monthly magazine article of the same name by Skip Hollandsworth. A college professor, Gary Johnson (Powell), who teaches psychology and identity, ends up landing a job as a New Orleans police contractor who disguises himself as a professional hitman, which leads to the prosecution of numerous citizens who want to hire contract killers to kill off spouses or personal enemies.

There are hilarious scenes of Gary interviewing various people at cafes, diners, and bars about wanting to “knock off” their loved ones for various reasons that range from money to jealousy and abuse. When Gary teaches, he is very insecure and unsure of himself. He wears glasses, dockers, and casual button-up shirts. However, when he is the mole, he embodies himself as a hitman, and his whole demeanor shifts as if he’s Clark Kent turning into Superman. He’s more confident, the glasses come off, his mannerisms are more stoic, and his whole vernacular and demeanor change. Of course, wearing completely different attire that consists of a black leather jacket with jeans helps Gary embody his hitman persona of Ron.

Courtesy Netflix

There is a hilarious montage of Gary getting hired by a numerous amount of people to carry out hits. Once a transaction and deal are made, the fellow police officers that Gary works for Claudette (Retta) and Phil (Senjay Rao) carry out the arrests and Gary has to go to court as a witness to detail the conversation that as held before the arrest. Some are prosecuted, others plea cases as entrapment. Meanwhile, Jasper (Austin Amelio), a fellow undercover cop is taken off duty as a mole once Gary outperforms him. This leads to animosity and tension between the two as the narrative progresses.

Gary’s mole duties become routine until he encounters Maddy, an unhappy wife who wants Gary to kill her alleged abusive ex-husband Ray (Evan Holtzman). Gary ends up falling for Maddy on the spot and he spares her from getting entrapped by Claudetta and Phil. Eventually, Gary finds himself in a relationship with her and she convinces Gary to murder Ray for his life insurance money. Gary finds his double life is spiraling out of control and Jasper ends up seeing them in public together and attempts to blackmail Gary and Maddy for a large sum of the insurance money.

Courtesy Netflix

Linklater, like he always does, balances humor with drama. Although perhaps some scenarios end up taking some creative liberties based on what actually happened, the writing by Powell and Linklater is self-aware enough to reveal how the truth is stretched in the finale. The film moves very well, and the onscreen chemistry between Powell and Adria Arjona is intimate and alluring. While there is an art to pretending for Gary, his connection and love for Maddy are genuine and real. Linklater and Powell play on the noir tropes of the film, but the film becomes more about the concept of acting. It’s not just on stage, in movies, or on television—many of us act a certain way depending on who is around us and the circumstances of certain situations. Gary discusses this in his psychology class as topics on the ID and ego arise.

While many of Linklater’s films have been set in Texas, his latest is set in the neighboring state of Louisiana and in the city of New Orleans. The setting also feels like a character, and Linklater doesn’t make it feel like a postcard tourist version either. There are no scenes of Mardi Gras and no other familiar locales of the Big Easy. It feels like a character of its own, and the vibe of the setting feels relaxed with its bars, clubs, and shotgun houses, where Linklater prevents it from feeling like an outsider movie.

Courtesy Netflix

Linklater keeps the comedy and dramatic energy moving, with Gary having many truths and cover-ups to unravel. Situations go off track and get contrived in the third act, but you always find yourself rooting for Gary and Maddy’s relationship to prosper. Especially once Maddy’s ex-husband comes back into the picture and when Jesper plots his cunning stratagem.

Indeed, Hit Man is a sophisticated comedy, and the material allows Linklater to be romantic again, as he did so well with his Before trilogy in the past. Linklater’s latest film is another impressive achievement, and one that will more than likely become a good-fun crowd-pleaser once it hits Netflix. Due in part to Glenn Powell, as he delivers another star-making performance, one that is versatile, where he delivers some comedic muscles, some emotional vulnerabilities, and he’s lean all at the same time. Hopefully, Linklater and Powell will continue to collaborate together in the future because this is working.

HIT MAN is now playing in limited theaters. It will be streaming on Netflix on Friday, June 7th.