"Hit Man" Review - Sky Buzz Feed

Richard Linklater has truly hit the mark with “Hit Man,” a sizzling-hot screwball rom-com that gives the Coen brothers’ chaotic best a run for its money.

This review is based on a screening at the 2023 Toronto International Film Festival, where this film stood out like a shining star.

Glen Powell delivers a tour de force performance that catapults him into superstardom, and the sharp script elevates “Hit Man” to a level of intense romance sorely missing in many sexless Hollywood movies. It’s more than just a movie; it’s a captivating character study that, despite being directed by Richard Linklater, exudes the wild and dark comedic essence of the Coen brothers. So, come for Powell’s rise to superstardom and stay for what might just be one of the funniest and most entertaining films of the year.

But here’s the kicker: Powell isn’t playing a superstar; instead, he brilliantly seizes the opportunity to showcase his remarkable acting talent. It’s as if the major American studios have yet to catch on to the fact that the once “Long-fingered Boy” from “Spy Kids 3-D: Game Over” has evolved into one of the finest actors in the industry today. Powell takes on the role of Gary Johnson, a character whose name is as unremarkable as it sounds. Gary is the epitome of dullness, with hobbies and interests so bland they wouldn’t even make the cut in Weird Al’s “White & Nerdy” lyrics. By day, he’s a psychology professor at a university, a guy with two cats named Id and Ego, and an occasional part-time police wiretapper ensuring the equipment functions correctly.

Gary’s life takes an unexpected turn when the undercover cop who typically plays the hit man in sting operations becomes unavailable. Forced to step into the role, Gary, the most unremarkable man alive, is tasked with a job so inconspicuous that no one would ever notice him. Surprisingly, he excels at it, transforming into a confident, suave, and assertive contract killer. With each new client, he adopts a different persona tailored to their fantasy of a hit man, creating entirely new and unique identities, all performed with such conviction that it’s impossible not to be drawn into his absurd world. It’s worth noting that the screenplay for “Hit Man” was adapted from a 2001 Texas Monthly article by Skip Hollandsworth, Richard Linklater’s collaborator on the equally bizarre and captivating “Bernie.”

The plot thickens when Gary encounters Madison (played by Adria Arjona), a woman seeking to eliminate her husband. For this mission, Gary transforms into “Ron,” a smooth, confident killer who couldn’t be more different from the real Gary. It’s only natural that his cop colleagues can’t resist Ron’s allure, given that he’s portrayed by one of the most handsome actors around. But Powell’s brilliance lies in playing Gary as utterly oblivious to his own charm, a role reminiscent of what Tom Cruise might have tackled in his early career.

“Hit Man” delves deep into the concept of identity. Gary’s lectures on the nature of the self challenge whether one’s identity is merely a construct shaped by societal perceptions. If this is the case, then constructing a new self and reprogramming oneself should be feasible, right?

Yet, this newfound ability to embrace different personas becomes both a blessing and a curse for Gary. As he excels at becoming other people, the lines between his various lives start to blur. The allure of Ron’s confidence becomes irresistible, and the prospect of being with Madison after she disposes of her husband is equally tempting. Their on-screen chemistry is electric, and as their relationship develops, “Hit Man” transforms into one of the most scorching romances in recent memory, effectively silencing any arguments against sex scenes in films. While Powell undoubtedly steals the show, Adria Arjona delivers a stunning performance that matches his energy. Madison’s character arc is both shocking and shockingly funny.

“Hit Man” plays to Linklater’s strengths in portraying everyday people navigating hilarious circumstances. Gary’s character carries hints of Dewey Finn and Bernie Tiede, with a generous helping of screwball comedy that propels his predicament into the realm of escalating chaos reminiscent of the Coen brothers’ work. Visually, the film is competently made but unremarkable, yet this isn’t a drawback; the script and the cast carry the movie effortlessly.

In summary, “Hit Man” masterfully blends romance with screwball comedy while exploring a unique and bizarre identity crisis. It delivers one of the most entertaining cinematic experiences of the year, thanks in no small part to Glen Powell’s superstar-making performance. Don’t miss this gem at the cinema, and keep an eye out for Powell’s name in lights – Hollywood, take note!