In his career Glen Powell He has never worked with the same director twice, except Richard Linklater. After Fast Food Nation (2006), Everyone wants some (2016) and the most recent role as a voice actor in the animated film Apollo 10 1⁄2: A Space Age Childhood, the two are back to copying, and Powell has put her own spin on it too. The actor wrote the script together with one of the best American directors of his generation killercomedy presented out of competition at the 80 Venice Film Festival.
The premise is already exciting: Although contract killers, meaning people who are prepared to kill for money, are very often represented in films, series, books and much more, In reality, these numbers don’t exist at all. Every time someone tries to contact one of them, they end up in the hands of the police. In this context we encounter Gary Johnsona philosophy professor at a university with a particularly flat life who works part-time and on a part-time basis with the police on such missions.
When her favorite hitman is forced to quit his job, Gary takes over. It was only supposed to be a temporary stopgap, but instead it becomes a new profitable and rewarding occupation thanks to Gary’s ability to impersonate various aliases Wearing the right mask for the right “customer”. and thus manage to let him fall into the trap. He is a real talent who only fell into crisis with the arrival of Madison – played by a very fiery woman Adriatic Arjonaalready recently seen in Morbius And Andor.
Her charm inevitably forces him to risk his entire life and, as a fake killer, he even thinks about becoming a criminal himself. A situation that leaves room for a hilarious comedy of errors, in which Glen Powell is an absolute star: the fragile vocal range with which Gary was played changes with a striking and sexy confidence when it comes time to slip into the role of Ron, the suspected killer with whom Madison having a relationship begins. The star who also recently took part Top Gun: Maverick He changes tone and pace at will, perfectly manages the times and methods of “delivering” the lines, and does full justice to the story co-written with Linklater.
In addition to a rousing humor, a sparkling and undiminished comedy – with at least two memorable scenes and a joke (the one about the death of the cavalry, just to give a hint without spoiling it) one of the best in the recent history of cinema in terms of comics -Epic Hit Man also finds his way fit seamlessly into the Boyhood director’s filmography and from Before Sunrise Trilogy. Although filmed in normal times (never predictable, given the prolific fascinations that characterize it), Linklater offers a psycho-philosophical interpretation key which increases the quality of the comic development of the plot.
In fact, there is more than just a story behind it inspired by an article I read 20 years ago in Texas Monthly magazine by the same author, but an examination of the concept of identity and whether, how and to what extent a personality is capable of change or not. A mix of comedy, noir (Which is Arjona a fantastic femme fatale), thriller and psychodrama, everything must be placed under the slow offer of a dialogue in which Gary and his ex-wife talk about exactly how much context and other elements of social pressure can or cannot change someone.
Almost without his knowledge, he is the subject of this experiment that involves the viewer on a visual level: the transition from Gary to Ron is facilitated by feelings and the bond with Madison through which he managed to find her a version of himself that best fits what he strives for as his identity. In his case it’s about finding a point of balance between the dominant superegoor the psychological authority that, according to Freud, regulates behavior and rules over the moral conscience, and the rebellious exthe completely unconscious part of us that knows no rules. The result is the egowho we are or in Gary/Ron’s case, what this crazy, hilarious adventure has made him.
Hit Man has an instant cult following, the comedy that is destined to stay in the audience’s stomach because of the amount of genuine laughter it can evoke. Mainly thanks to Glen Powell, never so effective and here perhaps in the best role of his careerwhich can undoubtedly represent a final turning point and, for example, place him in the same group to which he belongs Ryan ReynoldsSo versatile actors with a special penchant for comedy.
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