Richard Linklater is, of course, a respected filmmaker, with his uniquely framed coming-of-age tale Boyhood and his lauded “Before trilogy,” starring Ethan Hawke and Julie Delpy as somewhat star-crossed lovers, each ranking high on the list of the most critically praised films of the last 30 years.

Both of those projects showcase Linklater’s passion for expansive palettes, and using cinema to tell stories with long arcs that neither lie about nor run away from the full complexity of life. (He’s also shooting the musical comedy Merrily We Roll Along, with Paul Mescal, Ben Platt and Beanie Feldstein, over the course of the next 17 years.)
Of course, Linklater is not merely an auteur, crafting cinematic baubles for appreciative but ever-dwindling audiences. There are many different factors that probably contribute to him being one of the most skilled American directors of his generation. In addition to his overall deft touch with rascally characters, he retains an innate connection to youthfulness, and all the angsty energy and messy ambivalence that entails.
Perhaps most important, though, is the fact that Linklater doesn’t shy away from the populist form of his chosen medium. He’s not out there throwing himself into comic book movies (thank goodness), but Linklater cares deeply about people watching his work, and seems to really want to show them a good time. He’s a natural-born filmmaker who also loves movies, if that makes sense. From Dazed and Confused to School of Rock, Linklater knows how to work reliably within the confines and structure of different genres, and deliver in superlative fashion.
His latest film, Hit Man, is just one such effort — a sly, loose-limbed, wholly enjoyable romp that plays upon a viewer’s familiarity with and expectations of murder-for-hire conventions. The end result is both an engrossing character study and a very fun romantic comedy, as well as (if one desires to squint a bit, and apply a more scholarly lens) a film that also asks substantive questions about both the nature of our societal obsession with murder in entertainment, and the overall human capacity for change.
Glen Powell stars as Gary Johnson, a technologically savvy college professor who moonlights assisting the New Orleans Police Department with special undercover sting operations. When the hotheaded Jasper (Austin Amelio) gets suspended, Gary gets an unwanted, spur-of-the-moment promotion. His first experience goes well, and before long Gary is thrust into regular work, with Claudette and Phil (Retta and Sanjay Rao) as his police handlers.
 
In his personal life, Gary is a single, divorced cat owner, and presents as something of a square. Stepping into the shoes of an undercover hit man, though, Gary quickly ascertains that every mark has, in their own mind, a particular vision of what a contract killer looks and talks like. This affords Gary the chance to play all sorts of different characters, and unlock a swaggering confidence heretofore missing in his life.
The complications of living with all these assumed personalities comes to a head, though, when Gary, posing as slick assassin “Ron,” meets up with Madison Masters (Adria Arjona), a woman living in fear of her controlling and abusive ex-husband Ray (Evan Holtzman). Gary quickly becomes both sympathetic and attracted to Madison, and in short order, he finds himself in a relationship, all while still operating under the guise of this “Ron” persona.
As with 2011’s Bernie, which was also adapted from a Texas Monthly magazine article by writer Skip Hollandsworth, Hit Man takes a colorful real-life figure and spins them off into a film that, while built upon the back of their personal story, offers something greater and more compelling than just a singular character study. In this case, Johnson’s very real undercover work and personality undergird a liberally reimagined narrative in a manner that, as it veers off into some actual instead of just speculated upon deaths, provides a thick serving of engaging, almost meta-commentary about murder-for-hire movies.

As much fun as Hit Man is, it also represents a special type of coming-out moment for its star, who enjoyed a 2022 breakout opposite Tom Cruise in Top Gun: Maverick and followed it up last year with a solid hit in the form of Anyone But You, which grossed $220 million in theatres. In addition to affirming his onscreen magnetism, Powell serves as a producer on the project, and in fact co-wrote the script with Linklater, after bringing it to him via a Zoom meeting during the pandemic.
There’s all sorts of fun to be had around the edges in Hit Man; it works just fine as a black comedy with plenty of romantic fizziness. But things build to a head in a late scene in which a wiretapped Gary, after learning that Ray has been killed, is forced by his police bosses to try and elicit a confession from Madison while posing as “Ron,” without first having a chance to connect with her and warn Madison of his visit. Full of crackling tension and humor, this live-wire sequence sets the stage for the movie’s big finale, and it’s the sort of thing that will inevitably populate career highlight reels for all involved.
While a big part of Hit Man’s appeal rests on the easygoing, high-sex-appeal chemistry of Powell and Arjona, the other casting here is great too. Amelio is fantastic as the somewhat slimy Jasper, while Retta and Rao share a nice rapport with Powell, providing solid, counterbalancing comedic relief. 

Our Rating

Summary
The definition of a crowd-pleaser, Hit Man used to be the type of hangout movie that could reliably count on positive word-of-mouth to power long-lasting theatrical box office.
The commercial marketplace may have somewhat shifted under its feet, but it’s still the type of effervescent treat that pairs best with company. Pop some popcorn and invite over some friends — you won’t be disappointed.