‘Hit Man’ movie review: Glen Powell takes aim in Linklater’s romantic comedy

A scene from Netflix’s ‘Hit Man’

This hasn’t happened since Richard Linklater’s last performance in his favorite movie First Following this trilogy that came out more than a decade ago, the American director has made another film in the romantic-comedy genre that is equally uplifting HitmanA balanced blend of smart humor, captivating undertones and a delightful lead performance from Glen Powell, Boyhood The director’s twenty-third feature film offers a sexy, offbeat rebranding of film noir.

The film’s buoyant confidence takes us into the unusual life of Powell’s Gary Johnson; a psychology professor who becomes a fake hitman for the New Orleans Police Department. The film serves as Linklater’s sly commentary on the genre of hitman cinema, subverting expectations and critiquing the notion of the lone killer as a cultural myth.

Powell, who also co-wrote and produced, has eschewed the high-octane macho typecast top Gun The academy seems to have given him a new tour de force. With a silly hairstyle and a fondness for paraphrasing Nietzsche, Jung and more philosophical ideologies, Gary seems an unlikely candidate for the criminal underworld. By day, the ironies of inspiring his students with quotes about living dangerously do not seem to be lost on the avid bird-lover: the highlight of his day involves dinner in solitude with his (cats) id and ego. However, when cast in the role of undercover hitman for hire, Gary displays an unexpected talent for deceit, transforming into a master of disguise, a man with many faces.

The film’s plot, inspired by a true story, portrays the dichotomy between Gary’s ordinary daytime life and his exciting nighttime activities. The real Gary Johnson, whose life inspired the film, never crossed the line into actual murder, instead using his talents to ensnare those who sought his deadly services. Powell captures this chameleon-like quality with effortless charm, toggling between Gary’s everyday naivety and his dramatic alter-ego with such ease that it recalls Jim Carrey’s early “Rubberface” impersonation.

A scene from ‘Hit Man’

His transformation scenes, where he dons bizarre costumes and adopts different accents, are pure comic gold, each more outrageous than the last. Powell throws himself into his roles with gusto, experimenting with everything from garish accents to over-detailed backstories. The costumes are equally inventive – Gary changes from biker leathers to a psychopathic jumpsuit, to the suave, suit-wearing Patrick Bateman (from American Psycho) to a disheveled, unlucky, red-necked vagabond.

Gary’s expertise in psychology shines through as he molds his characters to the mindset of each potential client, creating personalities that are believable and varied. His acting is so brilliant that even his usually calm police officers can’t suppress their laughter (and sometimes their lust). Yet, beneath the costumes and accents, Powell clearly presents Gary’s true personality – an awkward, basically decent guy who’s a little too eager to live out his secret fantasies. It’s a balancing act that Powell handles with aplomb, ensuring that each disguise feels like an extension of Gary’s repressed desires and latent talents, not a simple costume change.

The romantic sub-plot of the film involves Internal Management and Star Adria Argiona as Maddie, a woman desperate to get rid of her abusive ex-boyfriend. When Gary, posing as suave hitman “Ron,” convinces her to reconsider her draconian plan, sparks fly in the most unexpected places. Powell seamlessly shifts between Gary’s clumsy sincerity and Ron’s confident manner, perfectly complementing Argiona’s portrayal of Maddie’s vulnerability. Each erotic interaction is captivating, including the exchange of flirtatious jokes in a dimly lit bar, steamy moments of bedroom cosplay, and stolen glances that heighten the Hawke-Delpy sexual tension that Linklater fans know and love.

A scene from ‘Hit Man’

Slowly, Gary’s journey becomes complicated. His relationship with Maddie deepens, blurring the lines between his real and fictional identity. It builds to a climax that leaves you spellbound; Powell and Argiona’s chemistry reaches its peak here, their performances filling the scene with an intoxicating mix of passion and tension.

None of Linklater’s feature films seem complete without philosophical reflections, whether implicit or explicit. The film touches on themes of identity, morality and the construction of the self, using Gary’s academic knowledge to enrich its purposes. However, these elements are handled with a lightness that thankfully doesn’t lead to gloomy existential anguish.

Hitman It’s a smart, sexy romantic comedy that puts Powell’s recent on-screen encounter with Sydney Sweeney to shame. It’s a relatively safe Linklater excursion that dives into professional ethics and human morality, but its effectiveness rests on some nostalgic old-school sex appeal from the Powell-Arjona couple.

Hit Man is currently streaming on Netflix