HIT MAN (2024) is on the more crowdpleasing side of Richard Linklater movies, a sort of comedy, sort of romance, sort of noir, sort of true story that’s good enough to sort of make me forgive the “based on a true story… sort of” disclaimer and related dad joke vibes. For me it doesn’t quite live up to the hype from the Toronto International Film Festival, where it apparently blew the roof off, but it’s definitely worth watching if you already get Netflix, where it ended up.
This is really a star vehicle for Glen Powell, an Austinite who worked with Linklater in FAST FOOD NATION, EVERYBODY WANTS SOME!! and APOLLO 10 1/2 (an animated/rotoscoped movie that’s also on Netflix, and quite good) before blowing up in TOP GUN: MAVERICK and ANYONE BUT YOU. Now the two of them teamed up to co-write and co-produce this showcase for Powell doing more than just his usual cocky hunky guy thing (but also that). He plays Gary Johnson, a New Orleans psychology professor who lives alone with two cats, enjoys bird watching, and tucks his polo shirts into his cargo shorts. He’s a dabbler who moonlights as a tech guy for the police, recording undercover stings busting people who were asking around about putting a hit out on somebody. When Jasper (Austin Amelio, The Walking Dead) is suspended for excessive force, Gary is pushed into playing the hitman, digs deep to create a macho character, and turns out to be very good at it. (read the rest of this shit…)
Well, the crazy sonofabitches did it. They made a 36-years-later-part-two to 
