Hit Man

Rating 6/10

Is it a film noir? Maybe a rom-com. No, it’s a pitch-black comedy! Tonally, this movie is all over the place. Hit Man stars Glen Powell as a timid college professor named Gary Johnson, who works part-time for the New Orleans Police Department, pretending to be an undercover hitman in murder-for-hire cases. He doesn’t really kill people. It’s all an act with Gary adopting various disguises to catch criminals who hire him. He selects from multiple identities depending on the specific contact. This is presented as a carefree romp, mined for laughs, as his accents are amusing. It doesn’t matter whether he’s doing Patrick Bateman from American Psycho or what I’m told is an impression of Tilda Swinton, from what movie I have no idea. Regardless, it’s amusing, and we warmly embrace this guy.

Gary’s role is to collect enough evidence from would-be perpetrators to enable the police to make arrests. However, it abruptly shifts into sexy mode when Gary, posing as professional killer “Ron,” meets Madison, a femme fatale portrayed by actress Adria Arjona. She wants to escape her abusive husband. He is smitten by her, so instead of taking her money, he advises her to start a new life. She continues to text him, and their relationship blossoms, but it’s built on a bed of lies. Gary finds himself embodying his gunman persona more often. His confidence grows, but so do the complications.

The picture adds a distinctive twist to the hitman trope, drawing inspiration from a 2001 article in Texas Monthly by journalist Skip Hollandsworth about the real-life experiences of a man named Gary Johnson. Glen Powell’s portrayal of the main character is a standout, bringing a fresh and unique perspective to the would-be assassin role. He’s an ordinary guy, juggling his everyday teacher responsibilities with clandestine extracurricular duties that add a thrilling edge to his existence. As Gary’s dual personas blur, the narrative delves into what it thinks is a deep exploration of identity. He’s a philosophy professor, and the audience is hammered with these ideas as he conspicuously and repeatedly discusses them in class. However, the heart of the production remains a lighthearted blend of humor and romance, primarily due to the burgeoning chemistry between the central duo.

A typical romantic comedy invites the audience to champion the central couple, rooting for their love by identifying with their journey. This genre convention establishes a foundation of empathy and support for the protagonists. However, in Hit Man, this dynamic is flipped on its ear in the third act. Our beloved couple, Gary and Madison, are conspirator and accomplice in something vile. Then, they double down and do it again. The abrupt shift from sunny romance to unconscionable crime is jarring, and our trust in the characters is shattered. Framing these characters in a favorable light for most of the chronicle only to suddenly reveal they are morally reprehensible people creates a dissonance that is off-putting.

I was on board for two-thirds of the film. Gary’s evolving affair with Madison is captivating, but it triggers a chain of far-fetched events. For fear of spoilers, I won’t divulge what they do. Let’s just say that Gary and Madison make some heinous choices together. They’re in love, so nobody else matters, right? The lack of repercussions for their amoral acts raises some ethical concerns.  Director Richard Linklater wrote the screenplay with Glen Powell.  Getting us to root for psychopaths as long as they’re attractive and charming is <ahem> an interesting choice.  Look, I’ll admit the undeniable rapport between actors Glen Powell and Adria Arjona adds a layer of enjoyment. One might do better to consider this a dark comedy about dishonorable people at the outset. Then, when what seems like a chirpy little rom-com collapses, the leap will be easier to accept.

06-07-24