The star and director Richard Linklater turn a true story of a mild-mannered guy pretending to be a killer-for-hire into a screwball crime-comedy hit.
and you’ll find an article by Skip Hollingsworth about a Houston man named Gary Johnson. He is described as being in his mid-50s, “tall but not too tall, thin but not too thin… sometimes wears wire-rimmed glasses that give him a scholarly appearance.” Gary teaches a few classes at a local junior college. Mostly, however, he pretends to be a professional killer for the police department when they want to set up sting operations and catch folks on a conspiracy-to-commit-murder rap.
Then one day, the unit’s go-to pseudo-assassin gets suspended due to some unsavory activities, and Gary is forced to step in. His hit man “Ron” begins improvising with the suspect about the art of removing fingertips and scattering them along the highway to avoid crime-scene detection. Johnson’s coworkers are impressed. Soon, he’s tailoring his “killers” to each client’s fantasy of what a hit man is, or ought to be, via wigs, accents, false teeth, fake scars.
And when the undercover agent smiles at his mark, you suddenly see Glen Powell turn himself into a genuine, old-school, Golden Age movie star. He’s flipped on these Klieg lights before, in small supporting roles like John Glen in. This, however, is different.
Nor can Madison, and while Linklater stages their sex scenes as tastefully as he can without seeming prudish, you still get singed by the emanating body heat whenever they’re onscreen together. You also get traces ofwhen Maddie’s husband happens to show outside a dance club they’re at, threatening both of them, and is soon mysteriously discovered dead.
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