Hit Man: Linklater's Latest Doesn't Miss

Hit Man Brings The Sexy Back Into The Romcom Action Genre

Richard Linklater's latest caters to a mature audience seeking to be thrilled as much by a story as by its protagonists. Harsh Pareek writes.

FEW DIRECTORS can claim as diverse a filmography as Richard Linklater. Romances, dramas, comedies, crime, nostalgia, experimental, documentaries and animations... he has not only delved into many genres, but also come out triumphant on most occasions, crafting some of the most memorable projects of the last few decades. All boasting a signature effortlessness.

His latest — a romantic action comedy, 'inspired by true events' — sees him foray back to his Bernie days. Based once again on a Texas Monthly magazine article by Skip Hollandsworth — just like Linklater's 2011 film — crime and humour takes centre stage in Hit Man, with one addition: it aims to bring the 'sexy' back into the genre.

Which is not a particularly difficult task (some would contend, impossible to sidestep), when you have Hollywood's man of the moment, Glen Powell, in the driving seat. Having previously collaborated with Linklater on Everybody Wants Some!! that arguably put him on the map, the latest reunion proves to be another step towards cementing the actor's credentials — and showcasing his impressive range — as a superstar in the making.

Here, Powell is Gary Johnson, a mild-mannered professor of psychology and philosophy living a “content” life in the suburban New Orleans with his two cats. He also happens to moonlight as an undercover police contractor, assisting the force with sting operations. When circumstances lead him to reluctantly pose as a hitman, soliciting murder-for-hire confessions, it turns out he is a natural at his new shapeshifting role. Things seem to be looking up for good ol' professor Johnson — that is, until Madison (Adria Arjona) walks in seeking his services.

Matching Powell in his charm, Arjona plays a discontented woman, trying to have her controlling husband killed. Sympathy and attraction collide as Gary — turning up in this instance as uber-cool (or hot, as you wish) Ron the hitman for this one — refuses the money, suggesting that Madison walk away from her marriage in order to restart her life. This in turn sets off a wild chain of events that could see Ron/Gary find love — and a whole lot of trouble.

While it's a treat to watch Powell and Arjona play off each other (their chemistry being one of the highlights of the film) — not to mention the great supporting cast, featuring Retta, Sanjay Rao and a standout Austin Amelio — most fascinating perhaps, is to witness Linklater tackle the various tropes and beats that come with a project like this, with his unique good vibes sensibilities and indie flair.

Murder may be the name of the game, but there is never a sense of uncomfortable tension or dreadful anticipation. The film moves at a leisurely pace — clocking 116 minutes breezily — where everyone seems to be having a good time. Straightforward to a fault with its storytelling, the almost old school linear quality of the narrative works in its favour, grounding not just the twists and turns — the expectations of which Linklater constantly plays with — but the characters themselves. There are no wicked baddies playing 4D chess, only individuals caught up in a whirl of unexpected events. Peppered with hints of a pulp noir paperback, all of this culminates in a well executed recipe that seems to have been missing from our screens in the more recent past.

Hit Man is also a little more occupied with affairs beyond two good-looking folks finding each other. Questions of self, identity, ego, and whether or not one can truly change or transform into someone else, are touched upon continually, and not always in the most subtle manner. In a way, the film pursues a Buddhist line of thinking, which is not surprising considering the real-life Johnson was a Buddhist himself.

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That is not to say the film doesn't stutter here and there. Its runtime can be divided into two distinct halves — the first being a long setup with montages and narrations, the second where the plot unfolds at a brisk pace, ripe with twists and payoffs. While a fairly enjoyable cruise throughout, the former does feel a tad too long and repetitive, especially considering the same could have been used to better define the character of Madison, who never quite manages to come into focus.

In the end, Hit Man thrives in its refined simplicity. A crime romcom that caters to a mature audience seeking to be thrilled as much by the story as by the protagonists. A feel-good affair that is sure to win over many a fan, and could well be on its way to becoming a classic of the genre.

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