Gary Johnson is New Orleans’ most wanted hitman. To his clients, he is the perfect killer. But if you’re paying him to take down an unfaithful husband or an abusive boss, you better watch out: he works for the police (pretending to be a hitman). When he breaks protocol to help a desperate woman trying to escape her abusive boyfriend, he becomes one of her fake characters, falling in love with the woman and aspiring to become a criminal himself.. with Glenn Powell, Adria Arjona, Austin AmelioRita, Molly Bernard and screenplay by Glen Powell, Richard Linklater, Marcus Whitman, based on an article by Skip Hollandsworth“,”Assassin” / “Hit Man – Asesino por Casualidad” / “Hit Man – Killer per caso”, is the new and anticipated film of Richard Linklater.
Links: IMDb website, Attraction movie, AlloCine, My movies.
Festivals and exhibitions: Venice Expo 2023 – out of competition.
Some reactions to the film’s screening at the Venice Film Festival.
Sergio SanchezTwitter: ““Hit Man” is great. Linklater celebrates identity in the eternal process of transformation in an irresistible comedy that is also a romantic thriller, a “true crime” thriller, and a philosophical meditation on man and his emotions. Perfect Double with Bernie. Fionnuala Halligana Subject According to the Screen International report: Richard Linklater turns the hilarious true story of “fake killer” Gary Johnson into a fun, entertaining, and audience-pleasing tale.. Alejandro J. CalvoTwitter: I was blown away by Richard Linklater’s “Hit Man.” What an absolute wonder! I am so impressed that I see Lubitsch’s touch in his very clever construction of sequences that mix criminal suspense with high comedy..
Articles published during the premiere in Catalonia.
This year’s romantic comedy is directed by Richard Linklatercriticism of Maria Adel CarmonaIn Ara newspaper: Could a radically optimistic filmmaker like Richard Linklater make film noir, a genre characterized by nihilism and misanthropy? The answer is “Hit it, man.” “Asesino por Casualidad”, a film featuring false killers and very real deaths, is, however, closer to Lubitsch’s effervescent sex comedy from the 1930s (..). The “Boyhood” director takes it down to earth and turns it into a whimsical romantic comedy that, like Gary himself, offers multiple layers. “Killer Man” is, on the one hand, a discursive philosophical meditation—no one gets around better than Linklater’s verbose characters, allergic to absolute truths—on the idea of personal identity and its capacity for transformation, and on the other, a celebratory defense of the work of representation, which is the center Neurological work of Linklater. In this, the interpretation of Glen Powell, also a co-writer, is fundamental, who throws himself without net or shame into playing the carnivalesque roles suggested by the film and Zelig becomes a criminal who melts his personality to adapt to the fantasies of his appointees (..).
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