Posing undercover as a fake hitman to arrest those who try to hire him, Gary breaks protocol to help a woman get away from an abusive husband. A film by Richard Linklater, starring Glen Powell, Adria Arjona, Austin Amelio, Sanjay Rao, Retta, Gralen Bryant Banks, Mike Markoff, and Evan Holtzman.

Gary Johnson (Glen Powell) lives alone with two cats named ID and EGO. His main job is a professor of psychology and philosophy at the University of New Orleans. He has a flair for all things electronic and digital, which have become useful when he is hired by the New Orleans Police Department to assist in undercover sting operations. In these operations, he hides cameras, mics, and obtains good recordings.

Everything seems to go well until one day, during a sting operation, Claudette (Retta), a fellow police officer, informs him that he’s just been promoted to play the contract killer part, replacing the usual police officer, Jasper (Austin Amelio), who is suspended. Gary is shocked and tells her that he’s just a civilian and isn’t prepared for the job. However, Claudette and Phil (Sanjay Rao) persuade Gary to take the job, asserting that Gary has seen Jasper do it for millions of times, and that they will keep an eye on him to make sure he’s safe.

Gary portrays the role of a contract killer, alias Billy, so well, using his knowledge of psychology to assess Craig’s facial and body language and naturally react to the questions thrown at him by Craig (Mike Markoff), who Gary understands wants to hire him. Gary manages to lead Craig’s conversation to confirm the hiring, which is recorded by a mic hidden in a little vase on the table.

Upon leaving the diner, Gary is apprehended by police officers, and the recording will be used as evidence incriminating him in court. Claudette and Phil are so impressed with Gary’s performance, and they agree to continue using Gary in their future sting operations during Jasper’s absence.

Gary gradually starts to love his new part-time job more and more as he has the opportunity to portray someone he’s not. He enjoys researching the clients before meeting them; tailoring different personas for each specific client to gain their trust, making his job easier to obtain the recording that the police need to apprehend them. The film shows us a series of Gary working his magic, although I find this part to be repetitive and quite boring, as nothing ever goes beyond the point we have already seen earlier. There’s no actual killing, since it’s never about the hit man.

One day, everything changes for Gary undercover as contract killer Ron. He meets a beautiful client, Madison Figueroa Masters (Adria Arjona), who claims she has been abused by her controlling husband: she wants to hire Ron to eliminate him. Normally, Gary would have tricked her into confirming the hiring and she would be apprehended. However, Gary sympathizes with her situation and feels that Madison is a victim in this scenario. Instead, he stops Madison before she hands him the money. He suggests she doesn’t hire him and uses the money to get a new life, a happy life that she can choose for herself. He also tells Madison if she needs anything or if she changes her mind, she can call him.

As expected, Madison uses the money to rent a house and files for divorce from her husband. She texts Ron to meet her. Initially hesitant, Gary reasons that it’s okay since she’s contacting Ron, his non-existent contract killer persona. Gary and Madison develop a romantic relationship with a special agreement: under the impression that Ron is a contract killer whose identity must remain secret. But things don’t go as smoothly as they hope when Madison’s husband, Ray (Evan Holtzman), decides to hire a hitman to kill his wife and her new lover.

Directed by American filmmaker Richard Linklater, from a screenplay he co-wrote with Glen Powell, based on an article Hit Man by Skip Hollandsworth which revolves around the life of Gary Johnson, HIT MAN is romantic comedy that somewhat works until it doesn’t.

Gary Johnson is a former law enforcement official who became known as the “greatest professional hit man in Houston.” He was a master of disguise and undercover work, using his skills to entrap criminals and assist in sting operations. Johnson’s life was marked by his ability to adapt to various situations and personas, earning him the nickname “the chillest dude imaginable.” Despite his high-pressure job, he remained calm and collected, sharing an interest in Buddhism and Gandhi’s teachings. Johnson’s career took a dramatic turn when he discovered a woman who was being abused by her boyfriend and instead of setting up a sting, he referred her to social services and a therapist.

When the film becomes too easily predictable, relying heavily on unnecessary romantic scenes and repetitive disguise gags, the narrative suffers. As nothing truly exciting happens on screen, it becomes tedious and boring.

Adria Arjona delivers a captivating performance as Madison. Initially presented as a victim, the film later reveals she’s not entirely truthful. However, the movie fails to fully explore this intriguing layer of her character. Her performance feels a bit over the top, and sometimes falls manipulative, making me wonder if she has a dark and hidden agenda. Then, in a conveniently wrapped-up ending, two people are murdered, yet no one gets caught. This happily-ever-after conclusion feels entirely unbelievable.

HIT MAN premiered at Biennale di Venezia on 5 September 2023. The film received a limited theatrical release in the United States on 24 May 2024.