Hit Man (2023)
Director: Richard Linklater
Screenwriter: Richard Linklater, Glen Powell
Starring: Glen Powell, Adria Arjona, Retta, Sanjay Rao, Austin Amelio, Molly Bernard
Glen Powell has an undeniable star quality. Whether playing Hangman in Top Gun: Maverick, the charismatic college student in Everybody Wants Some, or astronaut John Glenn in Hidden Figures, Powell radiates a confident, all-American charm reminiscent of early-career George Clooney or Richard Gere. His cocky smile and magnetic presence make him an actor audiences quickly trust. Until now, Powell has often appeared in supporting roles; with Hit Man, his latest collaboration with Richard Linklater, he finally gets a role that showcases his full range.
Hit Man is a lively action-comedy co-written by Glen Powell and Richard Linklater, inspired by a true-crime article. The film follows Gary Johnson, a mild-mannered philosophy professor who is recruited by the New Orleans police to play a fake contract killer in sting operations. The department uses Gary to lure would-be murderers into revealing themselves so they can be arrested. Gary narrates much of the action in a witty voiceover, explaining that real contract killers are rare but that he succeeds because he understands what his targets want. He crafts believable fantasies for each target, using prosthetics, wardrobe, and detailed roleplay to trap angry spouses, criminals, and coworkers—each sting ending in an arrest.
Gary’s run of successful stings continues until he meets Maddy Masters (Adria Arjona), a woman trapped in an emotionally controlling marriage. After studying her situation, Gary invents a new alter ego—Ron—a suave, self-assured supposed killer who promises the world and allays Maddy’s fears. Ron’s confidence and charm convince Maddy to abandon her plan to hire a killer; instead, she takes the money she’d set aside for murder and uses it to escape and start a new life. The relationship between Gary and Maddy develops into something more, and when he’s with her Gary slips into Ron’s persona with ease. Over time, the boundaries between the unassuming professor and his fabricated tough-guy identity begin to blur.
Richard Linklater’s films are infused with a singular spirit: he makes the movies he wants to make, whether that’s a stoner comedy, an intimate romance, or a long-term coming-of-age chronicle. That creative ownership is on full display in Hit Man. Linklater and Powell take a risky, playful leap and commit to the film’s tonal swings, delivering something that’s both hilarious and unexpectedly touching. The movie constantly surprises, never letting the audience settle into predictable beats, and the payoff is satisfying because the filmmakers embrace the film’s oddball premise without hesitation.
Powell shines in the lead, demonstrating strong comic timing as well as action chops and improvisational skill. The role gives him the chance to inhabit a range of invented killers—from a cultured, Lecter-like psycho to a loud, gun-toting caricature—and you can see Powell enjoying the freedom to play. His portrayal of Gary, the mild-mannered philosophy teacher in sensible shorts, contrasts beautifully with his confident alter ego, making scenes where Gary must perform dangerous skills—shooting, fighting, bluffing—especially entertaining. Powell is surrounded by a supportive and funny ensemble: Retta and Sanjay Rao, as police colleagues, provide deadpan counterpoints that keep the film grounded and breezy. In his first major leading role, Powell proves he’s willing to play against type and lean into comedy, making Hit Man his most fun and memorable performance to date.
Linklater’s career shows how unpredictable his choices can be—The Before Trilogy and Boyhood could not feel more different from School of Rock or Dazed and Confused—yet his films consistently bear his distinct presence. He favors loose, character-driven narratives and often examines time and identity across varying timescales. Hit Man, though a comedic caper, poses a quieter question at its core: can a person truly change? Through Gary’s transformation and the push-and-pull between his conscience and his fabricated persona, the film asks whether we can reshape ourselves beyond our original foundations. Linklater answers with energy and humor, crafting an action-packed, original film that tackles identity with both wit and warmth.
Score: 18/24
Rating: 3 out of 5.