‘Hit Man’: a crazy and unfunny script | Culture

When lately I am asked that uncomfortable and insistent question of “what movie can I watch?” I try to make myself invisible and inaudible. Or I respond: “Look in other places, trust the promotional campaigns, I have nothing to recommend.” Maybe my sense of taste has atrophied. But there are endless movies released every week. Because? So that? And with that calculated or instinctive tendency that most of them last more than two unnecessary hours, and from which I come out the same or worse than what I entered. Memory has to make severe efforts to find one that has provoked in me the sensations that I associate with the cinema that I love. It happened to me with that little gem that Wim Wenders signed titled Perfect Days. And that must have happened six months ago. How dull it is about nothing here, nothing there.

Richard Linklater, creator of hitman, He has a praised name and artistic resume. There is enough cinephilia for whom his trilogy Before sunrise, Before sunset and Before nightfall the Bible assumes. This is not my case, although I respect its originality. And I’m not in love with Julie Delpy and Ethan Hawke either. But I was moved by the extraordinary Boyhood, the story of a boy from the age of seven to 19, an exercise as risky and laborious as it is dazzling. Linklater also has a lot of credit as the author of celebrated and original comedies. I’ve seen some, but they didn’t leave much of an impression on me.

And although it seems that Linklater and his co-writer Glen Powell, who also stars in it, were based on a real event when writing hitman, I find his argument a bit delusional. It turns out that a philosophy professor who spends his mornings lecturing his students on Nietzsche and Aristotle dedicates his afternoons to working for the police in an unusual job. He poses as a hitman. He connects with a clientele who, out of revenge, jealousy or various businesses, hire him to kill someone. And then they arrest the contractors for their homicidal intentions. It seems absurd to me, I don’t believe it. Yes, I believed the exciting novels of diabolical Trevanian The Eiger sanction and Loo’s sanction, starring Jonathan Hemlock, the most renowned critic and art professor, although he is also dedicated to killing people for money that an organization points out to him. But here I can’t get the laugh out of this professional with such disparate jobs or his surreal encounters with those who intend to hire him to solve their problem through blood.

And I clarify. Nothing bad happens to you for watching and listening to these intrigues, but they are supposed to make you smile and cause fun. In my case I remain iceberg-like. I only get upset when the actress Adria Arjona appears. She plays a truly sensual lady who intends to hire the philosopher so that he can kill her abusive and violent husband. The actor Glen Powell, who is said to be one step away from stardom, does not particularly seduce me. Yes, the looks, the gestures, the movements and the way of speaking of the beautiful Adria Arjona. Her character is supposed to have been created by the script, however, she gets into it naturally and convincingly. An actress to keep track of.

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