There are star vehicles that are designed to show off variety, then there are star vehicles designed to show a dexterity of skills in front and behind the camera, then there are star vehicles that show that an actor can have startling chemistry with any actor he meets. Then there is Hit Man which manages to be all three. Richard Linklater working once again with Glen Powell, this time working together behind the camera aswell as in front, brings us one of the more entertaining films of the year thus far and certainly one of the most crowd-pleasing I feel. That is of course with the issue that very few people will get a chance to see it with a crowd.

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One of my personal favourite Richard Linklater movies will always be Bernie and so when it came to pass that Linklater’s next project would be another true crime tale from a Skip Hollandsworth article from Texas Monthly, my interest peaked straight away. Bernie I dare say sticks the landing better than Hit Man does, however both are wickedly entertaining stranger than fiction tales that manage to balance with great effect, tension and comedy in equal measure. The difference between the projects lie in where Hit Man begins to divert from the truth and become pulpier and sexier, taking the cornel of the original article and growing from there rather than being didactic as I believe my beloved Bernie was. The decision to take this into a more genre route and eventually moving fully into a noir tale driven by passion with a darkly satirical undertone is of course what makes Hit Man the success it is. Whereas the first third of the film that follows the truth of the matter and all its bizzarity is where personally my preference lies, with Powell offering us a series of hitmen, each funnier than the last in a rogues gallery of characters that in a different actors hands could have come off as clawing or show-offy, but with Powell comes off simply as part of the tale and an exemplary exampling of an actors craft. It is however once we are introduced to Adria Arjona and the romance between her and Powell begins that the film gets into its major narrative gear. The chemistry and ever shifting nature of the relationship between these two is arguably the films biggest strength and leads to some of the most inventive, again sexy and entertaining scenes and sequences of the year – with one in particular standing out firmly. But throughout the whole film, even with Austin Amelio’s darker character bringing in a touch of tension, the film does manage to keep a nice light and wry tone about the affair. In this balancing of tone and with the overall handle on the film even with its ever-shifting nature, Linklater and Powell stand strong against other dark comedies of recent of its like and make for something that is as entertaining as its thrilling. I do feel personally that some of the later shifts although worked for me as a whole, did slightly jumble the balance, however when your first two thirds are this entertaining you can certainly forgive a little final act fumbling.

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A very strong 8/10 that entertains and keeps you guessing along a wonderfully sexy and twisty plot. Powell and Arjona are sensational together and their chemistry and passion is enough to sell the film on its own, but then this of course a resume film for Powell in every way he could have possibly wanted. However that is not to say that this is a vanity project, this is simply a director working with an actor and utilising in one film every strength he has. Hit Man although loses me slightly as it goes on, remains very strong throughout all the same.

P.S. Who thought those cringey transitions at the end of every Hit Man arrest were a good idea? Every single one of them looked like IMovie never mind a professional feature.

P.P.S I attempted to see this in cinemas, but unfortunately could not and although amidst other Netflix features of recent, I don’t think this suffers as much as others in the downgrade of theatre to home, it is still another entry in the seeming never-ending list of movies that will disappear before too long.

-        Thomas Carruthers