‘Hit Man’: Venice Review

Dir. Richard Linklater. US. 2023. 113mins

There is nowt as entertaining as folk, but Richard Linklater knows exactly where to add some topspin to the real life of Gary Johnson (Glen Powell), a ‘fake assassin’ working undercover part-time for the New Orleans Police Department, while also geekily lecturing in philosophy at the city’s university. This genial comedy/noir is a genuine crowdpleaser – funny, sexy, clever and confident in building a low-key humour which hits the target over and over again.

A genuine crowdpleaser

Co-written with Powell and based, ever so loosely, on a newspaper article about the life of a real Texan shapeshifter, Hit Man also flaunts a rare, sizzling chemistry between its two leads, Powell and Adria Arjona, meaning the fun never drops a notch as this classic noir dame does her own shapeshifting dance. Comparable, perhaps, to an Elmore Leonard novel or an early Soderbergh, it’s also very much identifiable by Linklater’s easy charm and thoughtfulness. Premiering in Venice Out of Competition with no US deal in place, Hit Man will interest global buyers – who will admittedly need to be creative in positioning it for best exposure. Positive notices will help, and Linklater’s fans are both legion (and when it comes to the Before trilogy, particularly devoted).

Jack of all trades Gary Johnson led the kind of life it would be preposterous to make up. If anything, Linklater and Powell scale it back, while finessing the fake hitman element into a big-screen confection. As we first meet the Honda Civic-driving Gary, he is exhorting his university philosophy class to, essentially, seize the day – although he himself is happy living a fairly banal existence alone with his two cats called Id and Ego. (In a recurring sight gag, cross-street signs posit existential questions for Gary in a way not seen since Steve Martin’s LA Story, such as Piety/Pleasure). 

A knack for electronics and sound engineering leads Gary to a part-time job with the NOPD, managing the audio for their sting operations. When one of the real police officers is suspended for racial assault, Gary is sent in on a job – to pretend to be a hitman-for-hire and entice/entrap the suspect into paying for a murder which he will never commit.

The unexpected thing about Gary – who explains in a laconic v/o that the concept of a hit man is a pop-culture fantasy, a myth perpetuated by cinema – is that he comes alive when pretending to be someone he believes doesn’t exist. He painstakingly researches each of his targets, and devises a custom-made persona to make that person feel reassured into signing up to murder-for-hire. That can range from turning up as a red-wigged Englishman to a leather-jacketed Russian, to a tattooed redneck. It’s all a far cry from Gary’s woefully unfashionable regular outfits of knee-length baggy denim shorts and open-toed sandals.

When Madison (Arjona) gets in contact with Gary about taking a contract out on her crazy ex-husband, he creates the persona of ‘Ron’ for her. ‘Ron’ is, suddenly, cool, and everyone likes him. Madison and Gary/Ron start trading dialogue like they’re Bogey/Bacall, but Gary/Ron warns her off the deal. This much took place in real life, but that’s where it ended. In Hit Man, Gary/Ron suddenly decides he is a dog lover after all and turns up at Madison’s animal adoption fair to stroke puppies and play with children. This leads to a night on the tiles and sexy dress-up games, and Ron’s confidence begins to spill over into the rest of Gary’s life (”when did our teacher suddenly become hot?”). We know he’s not all he appears, but what about Madison? And was pointing a gun at her ex-husband sensible for a man who is now leading a double-double life, given he’s lying to the NOPD about his relationship with Madison as well?

Linklater shoots this twisting comedy with all the insouciance and confidence of a ‘Ron’, helped by editor Sandra Adair who keeps it visually on track despite the many detours. With Powell on board as co-writer from the outset – he brought the idea, which came from an article in ‘Texas Monthly’, to Linklater – his multi-layered performance is assured. He knows all the characters here, and makes sure the audience is clear too, while his scenes with Arjona are a rare treat of easy sexuality and amused playfulness. And behind, a vital part of it all, is New Orleans, the Big Easy, with its cast and locations and flavourful mix. Of note is Retta as NOPD sting supervisor Claudette. She steals so many scenes, she should be locked up herself.