“Hit Man” (2023) Review – Nerd, Lies, and Videotape

# Hit Man: A Genre-Hopping Adventure

An article about a philosophy professor, two cats, a bunch of wigs, and a fake German accent walks into a 20MM Netflix contract. Somehow, it transforms into a genre-hopping fever dream. It tries to be a rom-com but occasionally moonlights as a sexy noir thriller. Then, it abruptly remembers it’s supposed to be a comedy and trips over its own tone. You got that? Re-read it twice before proceeding, and do so with caution.

The Premise: What You Need to Know

Gary Johnson (Glen Powell) is a mild-mannered ethics professor by day. He also works part-time as a tech guy for the New Orleans PD. One fine afternoon, someone suggests, “Why not throw the nerd into the field?” Suddenly, Gary is impersonating hit men to trap idiots trying to outsource their murders. Surprisingly, he’s amazing at it—disturbingly good, in fact. This leads you to wonder if he missed his real calling. Years of campus politics, budget cuts, and seeing the administration rename 'office hours' to 'safe dialogue zones' might have messed with his brain.

Each “hit man” he embodies is custom-fit to the client: leather-jacket Ron for the damsels, an unwashed anarchist for the anti-capitalists, and a cold-blooded German for those who have seen too much Die Hard. He becomes the department’s Swiss Army sociopath.

Just when Gary starts getting comfortable cosplaying murder for a paycheck, a hot and mysterious client named Madison enters the picture. She has bad taste in men and excellent cleavage. Gary-as-Ron tells her to skip the murder and leave her abusive husband. Surprisingly, she listens. She later calls him for a date, which he attends—dressed as Ron. You see where this is going.

Fake It, Nail It, Regret Everything

While impersonating his fantasy alter ego, Gary slides headfirst into a real relationship. Meanwhile, the real Gary is having a moral identity meltdown. But this isn’t Vertigo; it’s more like 50 Shades of Freud if Freud also manned the helm of a creative writing class with a Netflix deal.

Linklater and Powell, bless their hearts, try to have it all: satire, sex, indie vibes, thriller tensions, and a couple of scenes that scream, “We took Psych 101 once and we’d like a gold star.” At times, the movie works. There’s genuine chemistry between Powell and Adria Arjona, and the premise is juicy. However, it keeps switching outfits mid-scene, as if in a costume contest. Just pick a lane, Ron!

The Good

• Glen Powell shines as he does impressions of himself pretending to be other people. Meta enough for you?

• Adria Arjona finally gets a role where she can be more than “the hot woman in distress.”

• The script is snappy at times and offers real insights into the seductive power of role-play—not just sexually, but existentially.

• The pacing through the first two acts is solid. You remain curious about where the story is heading.

  
  

The Meh

• By Act 3, the plot feels as if it has had three too many drinks and is stumbling into walls. Murder subplots, double identities, ethical debates, and romantic dilemmas get thrown into the mix, hoping something sticks.

• Tone whiplash occurs frequently. It’s like getting jerked between Before Sunrise and Mr. & Mrs. Smith every five minutes.

• The ending makes a bid for cleverness but leaves an impression of a screenwriting workshop power move.

  
  

The Recipe Behind the Film

This entire movie exists because someone wrote a juicy article with a built-in character buffet—one guy pretending to be a dozen different hit men. That’s like catnip for actors, which makes it catnip for producers. Netflix dropped $20 million on it for exactly that reason.

• Indie director + high-concept premise = streaming gold. That’s the new formula.

• And yes, if your date claims to be a contract killer, maybe don’t turn it into a sleepover. It’s just basic safety.

  
  

Verdict: A Mess Worth Watching

“Hit Man” is charming, slippery, and kind of a mess. Yet, it’s the sort of mess that you keep watching because it remains entertaining enough. It’s like watching your philosophy professor get drunk and flirt at a karaoke bar. You’re weirded out, but you’re definitely not bored.

What’s in It for You

Gary starts out play-acting a role for work. Soon, he discovers that the persona he invents gets him the things he secretly desires: confidence, connection, and excitement. However, somewhere along the way, the mask fuses with his face. The line separating pretending and becoming starts to blur. The danger isn’t just moral; it’s also existential.

Many people realize that success requires adopting a version of themselves that feels manufactured. The polished LinkedIn version. The charming sales mode. The confident speaker. For a while, that version works better than the original. But if you lose track of what parts are real and what parts are performative, you end up living a life built on a role instead of a real self.

How to Know You’re in Too Deep

• You actively avoid situations where others might see how little you care about your job.

• You prep for one-on-ones like it’s a parole hearing.

• You don’t remember the last time you spoke in your normal voice.

• You’re oddly skilled at corporate compliments but blank when someone asks what you want.

  
  

Action Steps to Take

1. Catch Your Filler Phrases. Start noticing what you say when you’re pretending: “Super excited,” “absolutely,” “let’s circle back.” Mark them as verbal masks. Resolve to cut one this week.

   
   

2. Say One Inconvenient Truth Per Day. Phrases like “I don’t know” or “this isn’t realistic” aren’t weaknesses. They’re anchors.

   
   

3. Write Down Your Actual Thoughts About Work. Not what your team thinks or what you’d post on LinkedIn. What do you think? Then ask yourself: do I even belong here?

   
   

4. Take One Risk That Disappoints the Character You’re Playing. Turn down a meeting or push back on a fake deadline. Post something online without any polish. If it makes you cringe, it’s likely you growing.

   
   

This journey isn’t about authenticity as a brand. It’s about avoiding sleepwalking through your career while wearing someone else's clothes.

Gary got lucky—he had a murder plot to wake him from this stupor. You might want to start sooner.