Richard Linklater’s Hit Man is a unique, quirky, and captivating film with a story that you wouldn’t believe actually happened.
The story centres on Gary Johnson (Glen Powell), a seemingly unremarkable professor who leads a double life as a fake hitman for the police department. His mission takes an unexpected turn when he meets Madison Masters (Adria Arjona), a desperate woman seeking to escape her abusive husband. What begins as a straightforward con evolves into a complex tale of deception, identity, and unexpected romance, with Gary grappling between his real self and the persona he’s adopted.
Powell is excellent as Gary, showcasing his versatility in effortlessly switching between characters, from the dorky professor to the cool, yet sometimes absurdly comical hitman. Powell’s ability to navigate these shifts injects his character with a depth that is engaging and believable. Adria Arjona, as Madison, brings a compelling intensity to her role, and their on-screen chemistry is palpable. However, while the spark between the leads is evident, the romantic subplot feels contrived. The transition from professional engagement to personal entanglement lacks the organic development that could make their connection feel more authentic.
Hit Man also occasionally struggles to find a balance between its dual narratives. There are moments when it leans too heavily into the romantic aspect, sidelining the more thrilling elements of Gary’s undercover crime escapades. This uneven focus sometimes detracts from the overall pacing, leaving viewers craving a more integrated blend of the film’s multiple genres.
As expected from a Linklater film, the writing is sharp and introspective, diving into themes of self-identity and the human capacity for change. The script does not shy away from exploring philosophical questions about what defines us and how we adapt to different roles in our lives. However, these thematic explorations are delivered a bit too bluntly. While the film’s intentions are clear, a subtler approach might have allowed for a more nuanced audience interpretation.
Despite its imperfections, Hit Man remains an entertaining watch. It’s a film that draws you in with its stranger-than-fiction premise and keeps you engaged with strong performances and smart writing. However, it falls short of being truly exceptional due to its lack of quirkiness and the aforementioned balance issues. A touch more of Linklater’s characteristic eccentricity could have elevated the film from good to great, offering a distinct flavour that would linger long after the credits roll.
In Hit Man, Linklater delivers a compelling, albeit slightly uneven narrative carried by Glen Powell’s excellent performance. Though the film stumbles in balancing romance with its crime caper roots, it remains an engaging exploration of identity and transformation.
Fun Fact:
This movie is based on a longform narrative article by Skip Hollandsworth, published in Texas Monthly in October 2001. This marks the second time that Linklater has made a movie based on a Texas Monthly article by Hollandsworth, the first time being Bernie (2011).
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