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Richard Linklater is one of the brightest minds to have come out of the 1990s’ American independent film renaissance. Known largely for “Boyhood” and the “Before” trilogy, he is one of the most beloved voices in cinema. His latest venture, “Hit Man,” streaming on Netflix, shows him exploring the crime comedy genre drenched in his love for cinema’s history. While following an accidental hitman, it takes a tour through the killer archetypes we have seen on the celluloid to build a riveting, richly layered, and thoroughly entertaining drama.
The film follows Gary Johnson (Glen Powell), a buttoned-up psychology & philosophy college professor who works part-time for the police department. Since his divorce, he hasn’t been romantically involved with anyone. He is a reserved man, content with what he has, and afraid to take a leap of faith to change himself. However, a sudden, complicated situation forces him to change and quickly reinvent himself as a hitman. His colleagues, Claudette (Retta) and Phil (Sanjay Rao), don’t think he can do this job. But he proves them wrong.
Gary meets a man looking for a hired gun. He effortlessly transforms into a made-up hit-man character and gets the man arrested for his intent to kill. Later, Gary gets many similar people convicted for their dubious motives. Slowly, he starts to get a kick out of these adventures, where he can be a different person, albeit for a short period. Due to his knowledge of psychology, he knows what ticks people. So, he uses it to his advantage to help the cops.
While moonlighting as a hitman, Gary meets Madison ‘Maddy’ Masters (Adria Arjona), who wants to hire someone to off her abusive husband. For the first time, Gary, posing as Ron, questions whether an impulse dictates a person’s character. He dissuades her from moving forward with the kill and motivates her to start her life afresh. But that’s where the trouble begins. While dealing with his infatuation for Maddy, he tries to hide crucial details about his life from the cops.
Gary admires Ron’s forthright nature, which quickly starts becoming intoxicating and hard to resist. He finally starts to question his firm beliefs about one’s self and the ability to change. Can being Ron diminish his identity as Gary? Does it mean he is being dishonest to his true self? He contemplates these notions while living through moments of secrecy that feel incredibly seductive. Linklater captures the allure of this form of escapism exceptionally well. The sexual appeal of both Powell and Arjona helps to build that sexual tension even further.
Cinematically, “Hit Man” feels inspired by the likes of Sydney Pollock’s “Tootsie.” Like Dustin Hoffman’s character, Gary Johnson goes through a metamorphosis to discover his truer self to fulfill the job’s demands. Gary assumes an identity that slowly starts seeping into his regular personality. Having a tall, conventionally attractive person at the center works to the film’s advantage. It indirectly conveys how Gary’s life was getting bogged down by his limiting personality traits.
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The script, written by Linklater and Powell with Skip Hollandsworth, takes a couple of cinematic liberties while following a narrative inspired by a real person. These liberties pay off in the film’s favor since they all serve a purpose. Due to its psychological depth, the film largely remains unpredictable. So, its moment of catharsis feels well-earned.
While being committed to the aspects of crime and action, “Hit Man” remains just as faithful to its cerebral undertones. Still, it never burdens you with its intellectual curiosity. Despite discussing the psychological subtext of Gary’s arc, the film never turns into a bland lesson. Besides, it masterfully handles the tonal shifts between different genres and weaves them into a complex identity-driven drama. Despite its blockbuster-esque aesthetic choices, Linklater’s masterful direction injects moments of profound darkness, making for a surprisingly nuanced experience.
Glen Powell chews the scenery with his effortlessly charming performance powered by his commanding screen presence. He has an electrifying chemistry with Adria Arjona, who finds vibrance and vulnerability in her character with the necessary performativeness. Even with flashier parts, both actors manage to unearth the characters’ underlying humanity. Thanks to the culmination of all their efforts, you leave the film with enough to mull over.
