5 Takes on Hit Man

Take 1: By Anna Melomed

How to get away with a murder? Hit Man feels like an exploration into that twisted yet universal fantasy. The film gives the audience plenty to think about as they enter the main character’s, Gary Johnston’s, world of philosophy, psychology, and justice. 

The movie begins with a seemingly ordinary professor whose persona is built around blandness, forgetfulness, and living alone with his cats: Id and Ego (A cool easter egg to look out for). The movie cleverly plays with circumstance as Gary, played by Glen Powell, slowly transforms into his alternate persona, the assassin Ron. Every step in that transformation is based on subconscious or conscious circumstances, including his choice to pursue a career in  psychology and philosophy while also stumbling into a hobby of a fake hit man. The movie doesn’t spend much time hiding the journey we’ve seen a thousand times, loser to winner. Instead it focuses on highlighting the excitement and thrill Gary gets from becoming the exact opposite of who he was before. There is no fairy godmother to give Gary his new dress or shoes (other than the director Richard Linklater and his spectacular team) as Hit Man explores the psychology behind a killer's mind and the passion that lies between love and hate. 

As much as Gary focuses on upgrading himself into this hitman mentally, he also seeks to upgrade himself professionally. The main antagonist and previous fake-hitman, Jasper, who was played by Austin Amelio, is no match for Gary. While Powell portrays a sophisticated and methodical chameleon, Jasper is a joke and comparatively weak in comparison to the god-like complexes of Gary and Madison (Gary’s cunning girlfriend). This characterization of Jasper makes the climax feel predictable. Although a minor detail, this lackluster villain held the movie back from reaching god-tier. Nonetheless, Hit Man did a wonderful job of enthralling the audience, combining a deep understanding of psychological and philosophical concepts to produce a universally appealing fantasy of what a hitman should be.

Take 2: By Juliana Agudelo Ariza 

Cinema’s great obsession with action-packed films and lofty depictions of the everyman hero (along with a romantic spin) have long been apparent, and Richard Linklater’s Hit Man is no exception. Led by the main actor Glen Powell, the sleeper hit has skyrocketed to Netflix stardom and global popularity for its lighthearted script, easy-to-follow storyline, and broad range of cast members. The movie depicts the double life of a young professor named Gary Johnson (Glen Powell), an uninteresting, almost bland main character who lives a quiet life alone...at least that’s what it seems.  

Everyone needs hobbies, and as we come to learn, Gary Johnson is no exception. Along with his colleagues at the New Orleans Police Department, Johnson embraces a new identity as a wise-cracking, confident undercover hitman (alias Ron), tasked with soliciting murder-for-hire confessions from criminals to detain them. While he proves to be a natural, and discovers a newfound passion apart from his monotonous life, soon he finds himself confronted with a ‘different’ kind of criminal. 

‘Ron’s’ magnetic personality allows him to placate the murderous intentions of a young woman named Madison, who hopes to hire him to kill her abusive husband. Instead of turning her in, Ron gives her a chance to change her life for the better while simultaneously becoming increasingly attracted to her.   

Hit Man’s premise revolves around their unconventional love story, Bonnie-and-Clyde style partnership, and Ron’s struggle to maintain his double life secret from everyone he cares about. Nevertheless, some select elements of the plot felt predictable from the beginning, and for all its praise, Hit Man read as a cliche action-turned-romance film. 

While some of the scenes kept you up on the edge of your seat, usually these culminated into unreasonable plot changes and random love scenes that added little creative element to the overarching storyline. At times, character development seemed to only scrape the surface, and Ron and Madison’s relationship seemed shallow and predictable.

Despite the story reading as an action film, it transmitted as trying to do too much at one time, as if it couldn’t decide whether to be a comedy, romance, action, or thriller. The writing felt rushed, and the actors’ performances were unconvincing. Glen Powell’s performance as Gary/Ron lacked a more intricate personality that would allow audiences to empathize with his character. 

Since the movie is about his double life, it seems, given his unconventional circumstances, he would become a more ‘likable’ character. His complete personality change from beginning to end were far too detached from his original design, which made the first and second half of the movie seem like two separate films.  

As far as the hype for Hit Man went, it was disappointing to see how a movie with so much potential failed to incorporate all the necessary elements to be a hit. Considering the expertise of the writers and the actors, I expected more from the characters, scenes, and storyline. It’s safe to say that although Ron always hit the target, this movie sadly didn’t. 

Take 3: By Kyle Gerstel

Hit Man is a film fueled by fun. It explores the concept of identity on a deeper level than most movies of its kind, although the ideas can get somewhat heavy-handed. That said, it is far too charming for that to matter.

As Gary Johnson, Glen Powell plays a passionate pseudo—you guessed it—hit man, helping the police identify ordinary citizens looking to carry out murders they refuse to execute themselves. The film is strongest when it explores the relationship between Powell’s protagonist and his intended-customer-turned-lover Madison Figueroa Masters, played by an irresistible Adria Arjona. The plot is consistently accessible, but while the philosophical ideas are sometimes expressed too directly in Johnson’s lectures, the applications of these ideas are not always clear. While I appreciate ambiguity, I often felt lost as a viewer intellectually.

Director Richard Linklater, whose eclectic filmography ranges from teen comedies to talky romances, co-wrote the script with Powell. The collaborators effortlessly navigate a remarkably dynamic tone as co-writers and in their respective roles, with equal cheekiness and sensitivity.

A highly engaging story that perfectly fits the small screen, Hit Man is one of the first Netflix films I have seen in which I would recommend subscribing to the platform in order to stream it. It’s a hit, man!

Take 4: By Raika Roy Choudhury

Starring Hollywood’s latest fascination (actor Glen Powell), Hit Man is a shockingly light-hearted yet engaging film that combines comedy, romance, and action. The film explores the concepts of identity and betrayal while showcasing Glen Powell’s undeniable charm.

Hit Man follows Powell’s character Gary Johnson, an undercover cop posing as a hitman, interacting with his different clients. Each of these scenes are funny. The plot thickens when Gary meets and enters into a romance with his client Madison Figueroa Masters, a married woman trying to escape her abusive husband. With its twisted set-up, their relationship immediately intrigues the audience. Ultimately though, the inconsequential nature of each characters’ actions led me to feel unsatisfied at the end. Especially compared to similar plots like Netflix’s You, Hit Man fell short. The film’s resolution was abrupt, which was especially disappointing given Gary’s strong character development prior to it—the audience grew invested in Gary, but was not able to see his arc fully develop.

Still, Hit Man has many redeeming qualities, the most notable one being Powell’s performance and chemistry with other actors. The film’s plot is also easy to follow, and its sets and direction enhanced its comedic timing. While not as impactful or revolutionary as other films of its genre, Hit Man is still a fun, enjoyable watch.

Take 5: By Sylvia Jarman

The concept of the summer blockbuster has been eking its way back into the public consciousness in the past few years, and despite its limited theatrical release, Hit Man has all of the trappings of a classic deserving of the title. 

The film is equal parts rom-com and action, contrasted by the underlying darkness of a “becoming the mask” story. Glen Powell provides a solid performance as Gary, handling the portrayal of a Russian nesting doll of characters with lots of tact and subtlety. The action is precise with sharp, snappy cinematography to match. The film feels right at home alongside the action comedies of the 2000-10s. It’s the kind of movie people mean when they say “they don’t make them like they used to.”

While Hit Man is an enjoyable romp deserving of that sentiment, the notion isn’t all positive. Clichéd dialogue and gags, an overreliance on montages, and an underwritten female lead are all traits common in action films of the past, and they unfortunately find their place in the contemporary Hit Man. This is a quality that makes Hit Man feel stifled by its limited theatrical release. The viewing experience would have been enhanced by being in a theater amongst others. The lack of an audience to react alongside the viewer only draws more attention to the sterile dialogue, especially between Gary and Madison. When the movie misses, it misses hard.

Regardless, Hit Man is still a fun experience, and if it were aiming to be a summer blockbuster, that is really all that it needed to be. It offers an affable lead, eye-catching action sequences, and a refreshing take on an old character archetype. If “they don’t make them like they used to” were true, Hit Man would be a very different film.

Lead Photo Credit: Adria Arjona and Glen Powell in Hit Man. Netflix © 2024

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