Hit Man

Hit Man

Released May 24, 2024

Directed by Richard Linklater

Written by Richard Linklater and Glen Powell

* No Spoilers *

A socially awkward, nerdy professor pretending to be a contract killer is a great concept on its own. Part dark romantic comedy and part tense crime drama, Hit Man is surprisingly charming and witty. It popped up on my Netflix suggestions, and if I hadn’t heard some buzz online, I probably would have passed on it. I’m so glad I gave it a shot because it turned out to be a pleasant surprise.

Directed by Richard Linklater (Boyhood), the story is fast-paced and energetic, hitting the ground running. It dives into the premise instantly and keeps its momentum throughout. I’m the biggest Glen Powell fan, but he continues to find a way to win me over. Far from his typical arrogant dude-bro roles, Powell’s portrayal of dweeby professor Gary Johnson is genuinely endearing. I love how the movie plays with his personality and the various personas he constructs while posing as a contract killer. I didn’t expect an exploration of identity and the philosophy of self-perception, let alone a tongue-in-cheek commentary on (or condemnation of) moral relativism. Embodying a palpable tension throughout, the movie perfectly captures imposter syndrome and the fear of being found out.

I could easily watch a movie about a nerdy philosophy professor moonlighting as a fake assassin, but Hit Man evolves into something far more elaborate.  When the story takes a twist, it fully commits, coiling itself into its own absurdity. I was dumbfounded that I wanted to hate where it ended but felt compelled to appreciate the wildly enjoyable ride. They leaned into the ridiculousness, and I respect the unapologetic approach.

Glen Powell’s performance is fantastic— probably the best showcase of his talent yet. His ability to blur between characters and especially “walking in as Ron, and leaving as Gary” feels incredibly nuanced. His character work meshes perfectly with the philosophy lectures, adding surprising depth. Adria Arjona (Andor) is magnetic but wildly unhinged, skillfully playing sympathetic, alluring, psychotic, and endearing all at once. Powell and Arjona’s on-screen dynamic is electric, and their deranged romance  goes beyond just being two attractive actors who could have chemistry with anyone. The romance at times borders on eye-roll worthy levels of cheese, but is just self-aware enough to remain charming rather than cringey.

Hit Man balances genuine tension with humour, resisting the urge to undercut more serious moments with a joke, at least not right away. They sit with them for long enough to relish in their impact without getting too dark. I loved how my predictions for the plot were completely shattered. This movie transcends genre—part rom-com, part absurd satire, and part suspenseful crime thriller, without its comedic tone this could feel radically different. The fact that it remains light hearted despite some of the grim subject matter makes it incredibly compelling.

The biggest surprise? This is based on a true story! Well, partially. Gary Johnson was a real professor who went undercover posing as a contract killer for the Houston police. I was even more surprised that Glen Powell wrote the script with Richard Linklater! Seeing those credits was almost as jaw-dropping as the film’s finale. Completely unexpected, and I’m still processing whether I loved it or if I’m still in shock. It’s sure to divide audience—you’ll either applaud its commitment or balk at its absurdity. Either way, it lingered in my mind after watching, which, to me, is a sign of success.

8/10 - Hit Man is easy to overlook based on its premise and cast, but I am glad I took a chance with it. Adria Arjona is wonderful and despite my aversion to Glen Powell, he is even better. Its divisive ending and ample use of cliche could push some viewers away, but I was hooked. Endearing, energetic, funny, and utterly ridiculous. This movie won me over by transcending genre, tackling deeper philosophical themes, and wholeheartedly committing to it’s own absurdity.

*Now streaming on Netflix

---