Hit Man, 2024.

Directed by Richard Linklater.
Starring Glen Powell, Adria Arjona, Austin Amelio, Retta, Sanjay Rao, Molly Bernard, Evan Holtzman, Mike Markoff, Ritchie Montgomery, Kate Adair, Beth Bartley, Morgana Shaw, Richard Robichaux, Bryant Carroll, Stephanie Hong, Gralen Bryant Banks, Jonas Lerway, Murphee Bloom, KC Simms, Jordan Joseph, Joel Griffin, and Garrison Allen.

SYNOPSIS:

A professor moonlighting as a hit man of sorts for his city police department, descends into dangerous, dubious territory when he finds himself attracted to a woman who enlists his services.

Exploring murder as a crime of passionate love, personalities altering across adulthood, who and what danger truly comes from, the spontaneous urge to hire a professional killer (with the mythology of the entire fake profession deconstructed and picked apart), and a study of how to balance the id and the ego, co-writer/director Richard Linklater’s Hit Man (loosely based on a true story magazine article from Skip Hollandsworth, and star Glenn Powell assisting with screenplay duties), this film is much more than the vehicle for sizzling chemistry founded on erotic danger material that its two leads kill with command.

Skillfully wading between genres, Hit Man begins as a situational comedy about boring philosophy studies college professor Gary Johnson (Glenn Powell), who returns home from work to feed his birds (also knowledgeable and obsessed with them) and cat while casually having dinner at a pathetic but hilariously constructed one-person dinner table inside a mostly empty kitchen. Gary also does sting operations undercover for the police on the side, except his role in those operations is promoted to the field once the temperamental Jasper (Austin Amelio) storms onto the scene complaining about cancer culture, having been suspended for physically attacking some teenagers who “deserved it ” on the job.

This allows Gary to become Ron, or rather, the “constantly aggressive,” hardened, cold-blooded killer who couldn’t be any more opposite from his otherwise nerdy, well-articulated, loner real self. Gary comes across as so lame that during a brief reunion with his ex-wife (Molly Bernard), she almost seems disappointed that their marriage was apparently so loveless he never entertained the idea of putting a hit out on her if things went south or generally killing for love.

Nevertheless, Gary finds within himself a more charismatic, twistedly imaginative, likable badass easily capable of easing strangers meeting him in random locations to lower their guard and incriminate themselves into premeditated murder over a wire. At the same time, we are consistently amused observing the cuckoo, zany individuals desperate enough to resort to such an arrangement under the impression it will fix all the problems. It is equally funny that Ron switches up his wardrobe to appeal to different types of people seeking his supposed service, experimenting more with finding his true identity.

However, what happens when someone (Adria Arjona) doesn’t just bring an envelope filled with money to the meeting but a genuinely depressing story about an abusive husband who possibly does deserve to be whacked? It’s a brilliant inversion of what we have been watching up until this point, switching the proceedings from comedy to the aforementioned superheated romantic thrills as fake hitman continues to enjoy the more positive perception people bestow upon him as Ron by using that false identity to get closer to this woman, named Madison, while also giving her some rules to adhere to regarding entering a relationship with a professional killer. 

That shift largely works due to the performances from Glenn Powell and Adria Arjona (who seems to have mostly had smaller roles in blockbusters until this breakthrough, revelatory performance), delivering lines with suave and seduction. Small physical tics in the performances elevate that magnetism, whether it be the opening of an alcoholic bottle mid-sentence and mid-stare, a perfectly timed and corny one-liner, or actors always aware of what the character should be feeling and how they should react in a given scene. There is a moment where Ron does encounter the toxic boyfriend (Evan Holtzman), instantly turning fearful but also regaining that composure the second her new boyfriend whips out a gun. 

Most importantly, the snappy screenplay allows viewers to buy into the initially absurd idea that Madison would be comfortable around a killer, even if we know Gary/Ron has never actually done such a thing. She has been around someone legitimately abusive who has caused her immense emotional and psychological pain, so in her mind, how much worse could it be getting close to a professional killer if he is actually a compassionate human being to her outside that job? Ron even puts it to her in the best terms; he’s a people person outside this line of work.

Hit Man also has its share of convenient, strictly movie moments, although they never threaten to jeopardize or tear down the absorbing character work behind the simmering attraction. The third act does transition into a thriller where an actual murder is in the picture, which makes for a noticeable small drop off in the introspection on identity, but Richard Linklater and the company also find ways to make that refreshing and exhilarating, most notably in an electric sequence involving what amounts to role-play on top of role-play. More to the point, nearly every single moment of Hit Man, well, hits. It is high-voltage fun, armed with smarts, sexiness, showiness, and substance.

Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

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