Directed by: Richard Linklater
Distributed by: Netflix
Written by Taylor Baker
78/100
“Hit Man” reteams Richard Linklater and Glen Powell for a third time; the pair previously made “Everybody Wants Some!!” and “Apollo 10 ½: A Space Age Childhood“ together. Powell also receives his first feature film screenwriting credit, which he and Linklater co-wrote based on Skip Hollandsworth’s Texas Monthly article. While it’s Powell’s first writing credit since the short film “J.A.W.” he made with Nate Parker over a decade ago, it appears that this wasn’t a one-time thing, with two more screenplays in development for a “Captain Planet” film and the original television series “Chad Powers.”
In “Hit Man,” Powell stars as Gary Johnson, a college professor who moonlights as a contractor with the New Orleans police department. He assists a task force that stops murders before they happen. After a co-worker is put on leave for four months, Gary has to assume his role and pretend to be a contract killer for hire. Over the course of the first third of the film, Gary builds up a persona named Ron, who is all the things Gary isn’t. Suave, calm, cool, collected, nonchalant, and a dog person.
His new job is going very well until Gary meets Madison Masters (Adria Arjona), a gorgeous would-be widower. Gary encourages her not to hire him, saving her from being arrested and tried for Murder-for-Hire. Powell and Arjona are joined by Sanjay Rao, Austin Amelio, and Retta–of “Parks and Rec” fame. The ensemble balances together well, making the unrealistic romp through New Orleans a pleasant experience.
Despite being adult-oriented and live-action, “Hit Man” doesn’t feel too different than Powell and Linklater’s aforementioned “Apollo 10 ½: A Space Age Childhood,” there are some big “adult” things happening around our main character who has serious responsibility resting on his shoulders. It’s an interesting enough premise to build a film around, but there’s also a cartoonishness to it, something that was overt in the styling of “Apollo 10 ½“ that here occurs on the page within the character of Gary and in the editing room. You never for an instant worry for the physical safety of our main character. The fast montages of him in different outfits to convince the clients that he is the “perfect” contract killer for them and the performative nature of his character remove the stakes in a mostly flattering way that leaves one with the impression they’ve just watched a live-action cartoon.
“Hit Man” is a smile and a wink. It’s charming and knows it; it’s fun and knows it; it’s flimsy and celebrates it. Splendidly cast, well-directed, and pleasant to watch, it may feel like a live-action cartoon, but what’s more Americana than that?
“Hit Man” Trailer
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