Gary Johnson (Glen Powell) is a philosophy professor at a community college who moonlights for local law enforcement, helping to catch people who are trying to hire a hitman.
Forced into playing the role by circumstance, Gary finds himself enjoying the escape into a different persona.
When he finds himself attracted to a would-be client, Madison (Adria Arjona), Gary finds his part-time job turning into a full-time problem…
“So what do you do?”
A movie designed to make Glen Powell a movie star.
In another era it might have done the trick. We shall see how its Netflix release will help or hinder Powell.
This is a movie with dynamite chemistry between the leads. Powell is great but he is matched by Arjona as Madison.
The way she conveys Madison’s mixture of terror and titillation at the idea of “Ron” and his world is key to the film’s success.
That ambiguity pays dividends on initial viewing. The film is from Gary’s point-of-view so it is easy to read Arjona/Madison’s excitement as a black widow toying with her latest victim, rather than a sheltered neophyte breaking out of what society expects of her.
It does feel like both characters are played by people way more good-looking than the script is trying to convey, but it does not matter when the chemistry is this strong.
This movie is so sexy. It felt like a throwback to movies like Out of Sight, and every other movie about charismatic people making bedroom eyes that Hollywood gave up on.
It is also great to watch a movie with a couple who have a totally solid relationship dynamic built on a foundation of lies and murder.
Informed by the impression that each of the partners is secretly a murderer, Gary and Madison’s attraction seems to be partially based on danger.
It is the dynamic of an erotic thriller, or a Bond movie. Instead, it is the basis of a romantic comedy. While it seems offbeat at first, how many romantic comedies are based on one of the parties lying? Too many to list!
They are people who find themselves and each other by creating alternative roles - roles which begin to bleed into their regular personalities.
One of the best scenes in the movie - and the one where they fall deeper in love with each other - is when they have to roleplay a ‘confrontation’ for Gary’s police handlers.
Following the film’s lowest moment - in which Gary finally bears all (“Who the fuck is Gary?” might be the funniest line in the movie) - this scene underlines the film’s thesis about public faces, and they can both reflect and project our deeper desires.
And unlike a more traditional treatment of this idea - where our heroes would be punished for their deceit - Hit Man validates their role play.
Both Gary and Madison start the movie as insular and closed off (although her plight is more explicit and threatening), but by the end of the movie they are strong enough to take control of their lives and find happiness.
It does feel like both characters are played by people way more good-looking than the script is trying to convey, but it does not matter when the chemistry is this strong.
The tone is light and frothy, Powell has fun as the various hit personae (shout out to the Tilda Swinton-inspired wordsmith), and the film earns its cozy domestic close.
If you enjoy something I wrote, and want to support my writing, here’s a link for tips!
No comments:
Post a Comment