Glen Powell just might be giving us reason to believe movie stars still exist. The most unrealistic part of “Hit Man” is not the premise, a philosophy teacher taking on a side gig as a pretend killer; it’s the notion that Powell is unattractive until he removes his thin-rimmed glasses. We as an audience, are collectively expected to suspend our disbelief while he waddles around in unflattering jorts, yes — jean shorts and goofy spectacles. Underneath such embellishments, he is actually some sort of ugly duckling. Nothing can cover up the unbridled charm of the man, making it difficult to perpetuate the narrative that social media has made the true Hollywood movie star extinct. Glen Powell is, I dare say, the Tom Cruise of Gen Z.
On the rise since his breakout role in Richard Linklater’s “Everybody Wants Some!!” Powell went tit for tat with Zoey Deutch in the rom-com to save rom-coms, “Set It Up” and flexed his acting muscles in “Top Gun: Maverick.” Now, he takes on the leading role in Linklater’s newest joint, “Hit Man” which played as one of the Spotlight screenings at the New York Film Festival this year. Linklater — whose filmography includes “School of Rock,” the “Before” trilogy, “Boyhood” and “Dazed and Confused.” He continues to remind us of his tremendous scope as a filmmaker. He layers each of his films with introspection, heart and astute humor, but they are different each time.
The film is based on the unique life of Gary Johnson. After offering his technical proficiency to assist the police with an undercover operation, Johnson gets roped into a role he could have never predicted for himself — fake killer for hire. In essence, due to the prevalence of such a trope in popular media, most people believe that the profession of a hitman is a real job. It is not. Utilizing this misconception, an investigative police force decided to put undercover cops in the field posing as hit men, to arrest those who respond to the ad.
His job is to get them to pay for the macabre job, an act that signals admission of guilt, so the cops can seize them on sight. Reluctant at first, he eventually finds himself enamored by the job. He does copious amounts of research on each client, dons elaborate costumes and learns complicated accents. This is where Powell demonstrates his range as a performer, committing to each bit with the nuance of a well-crafted comedy sketch.
The film cheekily bills itself as “somewhat” of a true story: the real Gary Johnson successfully made around seventy arrests in the nineties by transforming into various assassins with names such as Mike Caine, Jody Eagle and Chris Buck. Glen Powell, therefore, does not only take on the role of being Gary — he takes on the role of being Gary and Gary’s version of Mike, Jody or Chris. The most appealing part of Powell’s performance is his genuineness and the fun he has with the role. He playfully chameleons from one beat to the next, tailoring each act to the sensibilities of each new customer and situation.
One of these personas is Ron, who is a suave, confident and stylish killer with just enough edge to entice and sincerity to comfort his latest would-be criminal. Adria Arjona plays Maddy Masters, a nervous wife who seeks out a hit man to off her controlling husband. She has warmed to Ron as soon as she starts devouring his slice of pie, confiding that her husband puts her on a strict diet, leaving her always eager to indulge when she is away. The classic Hollywood chemistry seeping out of every glance between the two leads is the backbone of the film.
Arjona is as magnetic as Maddy, transforming from a feeble housewife to a liberated singleton. The courtship between Maddy and Ron/Gary is off-limits considering the circumstances, but Maddy is effortlessly sexy which she wields throughout their budding relationship, making it increasingly difficult for Gary to resist.
This might be the first time some viewers have seen Arjona on the big screen, as she has risen through the ranks of smaller projects over the years. She has a naturalism about her that is engaging. Holding her own against the charisma of Powell, her performance is memorable.
The pairing together calls to mind the classic noir duo like Barbara Stanwyck and Fred MacMurray in the unbeatable “Double Indemnity” and the playful seduction of Angelina Jolie and Brad Pitt in “Mr. and Mrs. Smith.” One scene of the two of them playing off of each other in what felt like a verbal masterclass was so thrilling to watch, that it sparked an applause midway through the film screening.
As evidenced by the boisterous festival audience, this film was meant to be seen on the big screen. It is disheartening that Netflix bought the rights to the film putting it at risk for burial. It is set for wide release by Spring 2024, but with the streaming platform snagging it first, it is unlikely to experience a quality theatrical release, and it is yet to be seen how much Netflix will prioritize its promotion.
But make no mistake: “Hit Man” is a hit. If Glen Powell can remind us that there are still movie stars ready to grace your screen, this film should remind us that there is still a reason to go to the theater. Be on the lookout for “Hit Man,” will be waiting for you.
“Hit Man” has yet to be widely released, but is expected to be available to watch early next year.