Hit Man

We’ve all seen plenty of psychological dramas or psychological thrillers, but Hit Man is a rare psychological comedy, and it’s both consistently amusing and intriguing.

Balancing components of screwball farce and twisty neo-noir, the latest genre hybrid from director Richard Linklater (Boyhood) satirizes the allure of true crime with a true-life look at an assassin impersonator.

Gary (Glen Powell) is a nerdy New Orleans college professor who moonlights as an undercover cop. He’s reluctant when asked to fill in as the department’s wire-wearing fake hitman for hire.

Somehow, he proves instantly to have a knack for the job, with the right mix of quick wit and off-kilter sensibility. Only moments after concocting a devious murder scheme, he’s talking about birdwatching with his colleagues.

As he becomes immersed and fully invested in the role, Gary is eventually consumed by the exploits of his alter-ego, named Ron — conducting elaborate case research and amassing a closet’s worth of costumes — wondering how far he can push the charade.

However, he also struggles to maintain the necessary emotional detachment, especially after meeting Madison (Adria Arjona), who wants to kill her abusive husband. Gary tries to talk her out of it for legal reasons, in the process providing Madison with a more suitable romantic partner.

Scheming to keep their affair secret, Gary’s loyalties become torn, prompting a moral dilemma and putting his commitment to the Ron persona to the ultimate test.

The fact that it’s inspired by a true story doesn’t diminish the required suspension of disbelief, yet that’s not an obstacle due mostly to Powell (Anyone but You), who continues to showcase his versatility and build on his leading-man potential.

Powell also collaborated with Linklater on the character-driven screenplay, based on an article by acclaimed Texas journalist Skip Hollandsworth. They poke fun at the mythology of contract killers perpetuated by movies and literary fiction, and the people in real life who are just unstable enough to think they need one.

Alongside its lighthearted quirks and exaggerations, the film also delves into the psychology of revenge and explores the challenges of undercover anonymity in the social-media age.

It becomes more tonally uneven when transitioning into a thriller in the second half, trying to build suspense and escalate the personal stakes. Still, there’s an element of relatable wish-fulfillment fantasy that enables Hit Man to find its target.

Rated R, 115 minutes.