By John McDonald June 10, 2024
We live in a time dominated by streaming services; entertainment platforms that have taken the film industry by storm (for better or worse is another discussion) with us being treated to a new film every other week it seems. Netflix, in particular, has become a serial distributor of films in recent years, with a varied degree of success that follows, but in Richard Linklater’s new film, Hit Man, we have a strong contender for the best Netflix film of the year. This sexy comedy thriller stars Glen Powell as the protagonist, a fake hitman, and if there was any doubt that he had the aura or skill to be a Hollywood leading man, then this film is what surely cements his place as one.
Synopsis
Professional killer Gary Johnson breaks protocol to help a desperate woman trying to flee an abusive husband and finds himself falling for her.
Review
Linklater’s attachment to the film feels very leftfield, with the director being known for his romance-orientated films or his classic coming-of-age stories. Although, Hit Man does possess classic Linklater motifs, which seem ingrained within it - a bubbling love story quickly becomes the epicentre of this film. It uses notions from classic screwball comedies and intense and mysterious noirs that result in a film with electric energy, something that is sure to pique the interests of a hugely diverse audience. Hit Man is a film that could have been plucked straight from the 1990s due to Powell's quirky accents and huge wardrobe that creates all his character’s personas feeling being cut from a similar cloth. The biggest compliment I could offer is that it feels old school while also being perfectly at home in this modern era of film.
Based on the 2001 Texas Monthly magazine article of the same name by Skip Hollandsworth, Hit Man follows the exploits of Gary Johnson (Powell), a college psychology professor at the University of New Orleans. He’s not just any old scholar though because in his spare time, Gary also works undercover for the New Orleans Police Department to assist in undercover sting operations. Gary, who usually operates the technical parts of the operations, is suddenly forced to go undercover as a hitman when Jasper (Austin Amelio) an officer who normally poses as these characters, is suspended. It doesn’t take long before Gary realises that he is a natural at this way of life, and his successes continue to have positive results and lead to countless confessions from people conspiring to murder.
Gary develops different personas for each hitman he masquerades as, but one particular character, Ray, is where he begins to thrive. Posing as Ray, Gary meets the enchanting Madison (Adria Arjona) who is trapped in a marriage with a man she despises and wants to be rid of. Gary (or is it, Ray?) talks Madison out of it and presses her to just leave instead, which sets the wheels in motion for the two of them to ignite a sexually charged relationship (a window needed to be opened at one point it was that hot) that becomes increasingly more problematic the longer it runs its course. The relationship that develops has Linklater’s stamp all over it; two starry-eyed lovers living in a bubble and oblivious to the world around them before something attempts to interrupt their idyllic little life.
Linklater’s screenplay (which he co-wrote with Powell) is incredibly witty and the characters feel deep and well-rounded. It’s filled with quirky one-liners and comedic observations that make a comedy film actually funny instead of one that is trying too hard. The film’s greatest quality might be the chemistry between the two leads though. It’s electrifying throughout, with Powell and Arjona looking so comfortable with each other that it projects through their characters with an illuminating aura. How often has a film with great potential been ruined by poor chemistry from its leading stars? It’s a difficult thing to master, of course, but with Linklater’s expertise in perfecting this exact idea, and the fantastic turn from one of the new leading men of Hollywood, followed by a magnetic Arjona with the best performance of her career, it all just falls into place seemingly.
There have been plenty of films about hitmen over the years though – with a couple this year as well even. David Fincher’s The Killer offered a great insight into the life of a contract killer but it couldn’t have been more serious. Martin McDonagh’s In Bruges played around with the comedy aspect, and masterfully so – it quickly became a film for others of the genre to aspire to. Hit Man hits a different note though; it never turns violent like Fincher’s film (which is difficult to avoid) and its comedy isn’t as dark as McDonagh’s – it manages to create something completely new by emphasising the fact that there is a potential for this to happen while focusing on the steamy heat of a relationship.
For Linklater to be able to imprint his auteur style into a film that feels so alien to him is a masterful achievement and credit must go to the director’s skill. Hit Man is a hit, plain and simple. This slick and sexy comedy romance that, even thrills at times, goes above and beyond what you might expect from your average Netflix film. Powell has absolutely elevated himself from the role of supporter which we saw in films like Top Gun: Maverick, and will now have a letter of offers filling up his inbox after this film. Hit Man is a film that will appeal to the masses due to its laid-back approach to storytelling and clinical approach to multigene experimentation. You can firmly put this film in the yes column for Netflix films, that’s for sure.
Star Rating
Hit Man is streaming now on Netflix
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