In the vast, algorithmically-driven ocean of Netflix’s content library, a new film emerges every week, vying for our precious screen time. From big-budget action spectacles to intimate indie dramas, the choice can be paralyzing. Yet, every so often, a title cuts through the noise not with a deafening marketing blast, but with a far more potent and rare currency in the modern cinematic landscape: unanimous, ecstatic critical acclaim. This month, that title is Richard Linklater’s Hit Man.
More than just another addition to the roster, Hit Man has arrived as a full-blown cinematic event—a critic’s darling that has captivated audiences with its intoxicating blend of slick neo-noir, laugh-out-loud comedy, and a surprisingly profound exploration of identity and self-invention. It’s the film you’ve been scrolling to find: intelligent, wildly entertaining, and powered by a career-best performance from its leading man, Glen Powell.
But what is it about this particular movie, nestled among hundreds of others on the platform, that has generated such a fervent response? Why are critics from The New York Times to The Ringer united in their praise? This deep dive will explore the alchemy behind Hit Man, dissecting its genre-defying narrative, its thematic depth, the masterful craft of its director, and the star-making turn that solidifies its status as the unmissable Netflix Original of the month.
Part 1: The Synopsis – A Professor, a Predicament, and a Persona
Hit Man is, refreshingly, based on a true story—or at least, the sensationalistic 2001 Texas Monthly article of the same name by Skip Hollandsworth. The film introduces us to Gary Johnson (Glen Powell), a mild-mannered philosophy and psychology professor in New Orleans. Gary is the definition of unassuming. He drives a sensible car, lives with two cats named Id and Ego, and finds joy in birdwatching and fixing electronics. He is a man who has fully retreated into a life of the mind, seemingly devoid of external excitement.
To supplement his income, Gary picks up side work with the New Orleans Police Department as a surveillance tech operative. He’s the man in the van, listening in on sting operations with sophisticated audio equipment. His life takes a radical turn when the regular undercover cop, Jasper (Austin Amelio), is suspended for misconduct. In a pinch, the commanding officer, Claudette (Retta), pushes a reluctant Gary into the field to pose as a fake hitman for a sting operation.
The initial result is a disaster. Gary, sweating and nervous, fumbles his way through the meeting. But on the drive home, something clicks. Drawing from his deep knowledge of human psychology and philosophical concepts of persona, he realizes that to be convincing, he doesn’t need to be a tough guy; he needs to be a mirror. He needs to become whatever the client projects a hitman to be.
His next assignment is a revelation. Gary creates a character—a cold, calculating, philosophical assassin—and effortlessly ensnares the target. He discovers a latent, unexpected talent for performance. He isn’t just playing a role; he’s creating bespoke hitmen for every client: a slick, tattooed enforcer for one, a suave, European James Bond-type for another. He becomes a master of identity, a chameleon who can tap into the dark fantasies of those seeking his services.
The plot kicks into high gear when a beautiful, desperate woman named Madison (Adria Arjona) approaches him. She wants to hire him to kill her abusive, controlling husband. But instead of seeing a criminal, Gary sees a victim. Breaking every protocol in the book, he uses his “hitman” persona, “Ron,” not to arrest her, but to dissuade her. He tells her she’s too good for such a drastic action, that she has the strength to leave. This act of unexpected compassion sparks a powerful and dangerous connection. Madison, drawn to the confidence and strength of “Ron,” begins a passionate affair with him, completely unaware that he is really the meek Gary Johnson.
What follows is a deliciously tense, witty, and morally complex rollercoaster. Gary must maintain the elaborate ruse, juggling his burgeoning relationship with Madison as “Ron” while his real life as Gary begins to feel increasingly hollow. The situation spirals further out of control when the real, volatile Jasper returns to duty, threatening to expose Gary’s unauthorized methods, and Madison’s husband’s situation escalates, forcing Gary to confront the real-world consequences of his fictional persona.
Part 2: The Critical Consensus – Deconstructing the Acclaim
Hit Man currently sits with a stellar score on critical aggregators, but the numbers only tell part of the story. The praise is specific, unified, and points to several key strengths.
1. A Triumphant, Star-Making Performance by Glen Powell:
The chorus of critical acclaim begins and ends with Powell. Following his scene-stealing turns in Top Gun: Maverick and Anyone But You, Hit Man is his undeniable leading-man showcase. Critics have hailed it as a “career-defining” performance. The brilliance lies in his ability to seamlessly navigate the film’s tonal shifts and its central duality.
He portrays Gary with a relatable, almost nerdy vulnerability—a man comfortable with silence and introspection. But when he transforms into “Ron” or any of his other hitman personas, Powell dials up a magnetic, swaggering charisma that is utterly captivating. He doesn’t just change his voice or posture; he changes the very energy in the room. The Los Angeles Times called it a “masterclass in comic timing and leading-man charm,” while The Guardian noted he “manages to be both hilarious and lethally sexy, sometimes in the same scene.” Powell makes the central conceit of the film entirely believable. We see why Madison would fall for “Ron,” and we also understand the genuine, kind-hearted man trapped within the performance.
2. Richard Linklater’s Masterful Genre-Blending:
Director Richard Linklater, the acclaimed auteur behind the Before trilogy, Boyhood, and Dazed and Confused, has always been a filmmaker fascinated by conversation, time, and identity. With Hit Man, he applies his philosophical and humanist lens to the structure of a thriller. Critics have praised his deft handling of the material, noting that the film is at once:
- A Genuine Comedy: The premise is inherently funny, and Linklater and Powell’s script (which they co-wrote) mines incredible humor from the absurdity of the situations. The scenes where Gary invents new hitman personas are comedic gold.
- A Suspenseful Neo-Noir: The relationship with Madison carries all the heat, deception, and fatalism of a classic film noir. The audience is constantly on edge, waiting for the other shoe to drop.
- A Philosophical Inquiry: True to its protagonist, the film is deeply intelligent. It engagingly explores themes from existential philosophy: Is the self a fixed entity, or a performance? Can we become the person we pretend to be? As IndieWire put it, “Linklater has made a popcorn movie that also functions as a witty thesis on the performance of self.”
This seamless blending prevents the film from being pigeonholed. It’s not just a comedy or just a thriller; it’s a unique and cohesive whole that satisfies on multiple levels, a testament to Linklater’s experienced and confident hand.
3. A Smart, Sharp, and Surprisingly Romantic Script:
The screenplay, co-written by Linklater and Powell, has been universally lauded for its intelligence and wit. It trusts the audience to keep up with its philosophical underpinnings without ever becoming pretentious. The dialogue crackles, particularly in the scenes between Gary/Ron and Madison. Their chemistry is electric, and their conversations are filled with a seductive, intellectual charge that feels rare in modern film.
Furthermore, the script subverts expectations. Instead of a simple cat-and-mouse game between cops and criminals, it becomes a nuanced story about liberation. Madison is not a one-dimensional “femme fatale”; she’s a complex woman seeking an escape, and Gary/Ron becomes her unlikely savior. This dynamic gives the film its emotional core and its surprising streak of genuine romance.
4. The “Based on a True Story” Hook:
The knowledge that the film is loosely inspired by the real-life Gary Johnson adds a fascinating layer of texture and credibility. While Linklater and Powell have taken significant creative liberties for narrative drama, the core absurdity and philosophical potential of the story are rooted in reality. This “stranger than fiction” element amplifies the film’s intrigue and provides a compelling anchor for its more outlandish plot developments.
Part 3: The Deep Dive – Themes and Analysis
Beyond its immediate entertainment value, Hit Man is a film rich with ideas. It uses its high-concept premise as a vehicle to explore profound questions about the human condition.
The Performance of Identity
This is the film’s central theme. Gary Johnson is a walking case study in social constructivism. He literally lectures to his students about how the self is not a static, pre-determined thing but a fluid concept shaped by action and perception. His journey is the practical application of this theory. By performing as “Ron,” he doesn’t just pretend to be confident; he becomes confident. The persona begins to bleed into his “real” life, empowering him in ways he never thought possible.
The film asks: which identity is more “real”? The quiet, insecure Gary who existed before, or the capable, charismatic “Ron” he has created? The answer it suggests is that they are both real. We are not one self, but many, and we have the agency to choose which parts to amplify. This is a deeply empowering and modern message.
Liberation Through Deception
Paradoxically, Gary’s web of lies becomes a source of profound liberation, both for himself and for Madison. For Gary, becoming “Ron” allows him to access parts of his personality that were suppressed—his assertiveness, his masculinity, his passion. For Madison, her relationship with “Ron” gives her the strength and self-worth to break free from her abusive marriage. The film cleverly posits that sometimes, a fiction can be a catalyst for a more authentic truth. This moral ambiguity is what gives the story its compelling edge.
The Banality of the “Real” vs. the Allure of the “Ideal”
The film constantly contrasts Gary’s mundane world with the thrilling world of “Ron.” Gary’s home life is quiet, orderly, and safe. The world of undercover operations is dangerous, unpredictable, and sexy. This dichotomy reflects a universal human desire to escape the ordinary. Madison is not attracted to Gary’s sensible life; she’s drawn to the excitement and danger “Ron” represents. The film’s tension arises from Gary’s struggle to reconcile these two worlds and his fear that the “real” him could never be enough.
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Part 4: The Creative Forces – Expertise and Experience in Action
The excellence of Hit Man is no accident. It is the product of seasoned artists operating at the peak of their powers.
Richard Linklater’ Authoritative Vision:
With a career spanning over three decades, Linklater has built a filmography that is both diverse and deeply coherent in its exploration of time, memory, and conversation. From the sprawling, 12-year production of Boyhood to the real-time walk-and-talk romance of the Before films, he is a master of organic, character-driven storytelling. His experience allows him to handle the complex tone of Hit Man with a relaxed confidence. He never forces the comedy or the thrills; he lets them emerge naturally from the characters and their predicament, trusting the intelligence of his audience. His authoritative voice provides the film with a solid foundation of craft and thematic weight that elevates it above a standard genre piece.
Glen Powell’s Meteoric Rise and Deep Involvement:
Powell is not just the star of Hit Man; he is its co-writer and a producer. His deep investment in the project is palpable. He has been open about his years-long passion for the Texas Monthly article and his collaboration with Linklater to bring it to the screen. This isn’t a actor-for-hire role; it’s a personal project. Powell’s expertise in understanding leading-man charisma (he famously studied and deconstructed the “McConaissance” for his own career) is on full display. He understands the mechanics of movie stardom and uses that knowledge to deconstruct and celebrate it simultaneously. His performance is a testament to his dedication and his rapidly growing expertise as a multifaceted Hollywood force.
The Supporting Cast’s Trustworthy Foundation:
A film like this cannot rest on one performance alone. Adria Arjona delivers a career-best performance as Madison, bringing a soulful complexity that prevents the character from being a mere plot device. We believe in her fear, her desperation, and her intelligence. The chemistry between her and Powell is the engine of the film. Similarly, Austin Amelio is perfectly slimy and threatening as Jasper, providing a tangible antagonist, and Retta provides a warm, grounded comic relief as Gary’s police colleague.
Conclusion: Your Verdict Awaits
Hit Man is more than just the must-watch Netflix movie of the month; it is a testament to the power of original, intelligent, and character-driven filmmaking in an era of franchises and algorithms. It is a film that respects its audience, offering not only a wildly entertaining two hours but also a conversation starter that will linger long after the credits roll.
It showcases a director in full command of his craft, a star fully stepping into his power, and a story that is as thought-provoking as it is fun. In a cinematic landscape often criticized for its risk-aversion, Hit Man is a bold, brilliant, and deeply satisfying anomaly. It is the critic’s darling for a simple reason: it’s just that good. So, clear your evening, turn down the lights, and let Gary Johnson—or should we say, Ron—take you on a ride you won’t soon forget.
Read more: From Superhero Fatigue to Original Stories: Is Mainstream Cinema at a Turning Point?
FAQ Section
Q1: Is Hit Man based on a true story?
A: Yes, it is loosely based on a 2001 Texas Monthly article by Skip Hollandsworth about a real man named Gary Johnson who worked with the police in Houston, Texas, posing as a hitman in undercover stings. The film takes this incredible premise and builds a fictionalized narrative around it, exploring the psychological and philosophical implications of such a job.
Q2: Is the movie more of a comedy or a thriller?
A: It’s a masterful blend of both. The core premise and many of the undercover scenes are genuinely hilarious. However, the relationship at the center of the film and the escalating stakes generate genuine suspense and tension. It also has strong elements of romance and philosophical drama. This genre-blending is one of its most celebrated features.
Q3: Who is the director of Hit Man?
A: The film is directed by the acclaimed Academy Award-nominated director Richard Linklater. He is known for a diverse body of work that includes Dazed and Confused, the Before trilogy (Before Sunrise, Before Sunset, Before Midnight), School of Rock, and the groundbreaking, 12-year project Boyhood.
Q4: What is Glen Powell’s role in the film beyond acting?
A: Glen Powell, who plays Gary Johnson, is also a co-writer of the screenplay alongside Richard Linklater and a producer on the film. He was instrumental in developing the project for years, having been fascinated by the original source material.
Q5: Is the movie appropriate to watch? What is its rating?
A: Hit Man is rated R by the Motion Picture Association. This rating is for language throughout, sexual content, and some violence. The content is in line with the adult-oriented, sophisticated nature of its themes and narrative.
Q6: How long is the movie?
A: The runtime for Hit Man is approximately 1 hour and 55 minutes (115 minutes).
Q7: What are the central themes of the movie?
A: The film delves deeply into themes of identity and performance, asking whether the self is fixed or fluid. It explores liberation and transformation, questioning how we can become the person we want to be. It also touches on the contrast between a mundane existence and an idealized, more exciting life, and the moral ambiguities that can arise when deception is used for a potentially good purpose.
Q8: Has the film received any awards or nominations?
A: While it was just released on Netflix, Hit Man premiered at the 2023 Venice International Film Festival to a standing ovation and has been featured at several other prestigious festivals like TIFF. It is widely expected to be a major contender during the upcoming awards season, particularly for Glen Powell’s performance and the screenplay.
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