It’s becoming increasingly clear: we’re just living in Glen Powell’s Hollywood. After winning audiences over in “Top Gun: Maverick” and “Anyone But You,” Powell continues his ascent with “Hit Man,” a stylish, darkly funny collaboration with director Richard Linklater. The film, which debuted to strong buzz at the Venice Film Festival before landing a release through Netflix, plays like a modern star vehicle and an acting showcase wrapped into one. It’s based loosely on the real-life story of Gary Johnson, and it gives Powell the perfect platform to demonstrate that he’s not just a magnetic leading man but a skilled actor with remarkable range. Still, if there’s one hope for Powell coming out of this moment, it’s that he doesn’t let Hollywood steer him into an endless string of romantic comedies. “Hit Man” is proof there’s a deeper well of talent to draw from, and it’s only just beginning to be tapped.
Set against the humid backdrop of New Orleans, “Hit Man” follows Gary Johnson (Powell), a philosophy professor by day and a fake contract killer by night. Employed by the police department, Gary’s job is to impersonate a hitman for hire, recording meetings with would-be criminals so they can be arrested. What begins as an undercover sting turns personal when Gary encounters Madison (Adria Arjona), a woman desperate to escape her abusive husband. Instead of doing his job, Gary impulsively lets her go—and in doing so, crosses a line that sends him spiraling into a double life he’s not sure he can control.
The setup gives Powell a rare opportunity to flex every part of his persona. Early scenes find him embodying a revolving door of cinematic assassins, each disguise more gleefully absurd than the last. In a standout sequence, Powell riffs on hitmen inspired by everything from Vincent in “Collateral” to the stoic killers of Tarantino’s universe. His energy in these moments is infectious, and the film crackles with a sense of mischief that’s hard to resist.
Beyond the costumes and alter egos, though, “Hit Man” settles into something more emotionally grounded. The film’s middle section builds on the relationship between Gary and Madison with genuine care, refusing to let the story devolve into pure farce. Adria Arjona, already a magnetic presence on screen, proves she’s more than just a romantic counterweight. She brings texture and vulnerability to Madison, and her chemistry with Powell feels lived-in rather than manufactured. It’s a breakout performance that suggests Arjona’s best roles may still be ahead of her.
Linklater directs with an easy hand, allowing the material’s wilder elements to coexist with quieter moments of longing and self-discovery. Linklater and Powell aren’t just telling a story about a man pretending to be someone else. They are telling a story about how easy it is to lose yourself in the version of you that other people want to believe.
Where “Hit Man” falters slightly is in its final act. After such a lively and unpredictable opening stretch, the conclusion feels more telegraphed than it should. Without giving anything away, the narrative choices are smart but safe, closing out Gary’s arc in a way that satisfies more than it surprises. It’s not a dealbreaker but it keeps “Hit Man” from hitting the daring high note it initially seems to promise.
Still, the film succeeds where it matters most: in cementing Glen Powell’s arrival as a genuine movie star. If “Hit Man” is any indication, Powell’s future will be filled with characters far more complex than the typical rom-com lead. And with talents like Arjona rising alongside him, the next era of Hollywood leading roles might just be a lot more fun and a lot less predictable than what came before.
3.5 stars for “Hit Man”, an easy to watch and entertaining film that should do very well on Netflix!