Issue 20: Hit Man

Currently on a hit man, a con man, and constant hits.

📝 Reviewing: Hit Man (2024)

He’s not a killer, but he can pretend.

Glen Powell is officially a movie star. That’s it, that’s the review. Having worked alongside Tom Cruise in ‘Top Gun: Maverick’, Sydney Sweeney in ‘Anyone But You’, and Zoey Deutch in ‘Set It Up’, Powell finally gets the spotlight in ‘Hit Man’.

Written and directed by Richard Linklater (‘Before Trilogy’, ‘School of Rock’, ‘Dazed and Confused’), ‘Hit Man’ is very loosely based on the 2001 Texas Monthly true-life article about Gary Johnson, a professor who moonlighted as a fake hit man for law enforcement. With that kind of setup, one would expect a suspenseful action-adventure flick, but ‘Hit Man’ is anything but.

At its heart, ‘Hit Man’ is a romantic comedy — it has the meet-cute, aha moment, montage, grand gesture, cheesy lines, and is sexy as hell. And like a rom-com, to embrace it you have to suspend belief. While the chemistry between Powell and co-star Adria Arjona (‘Morbius’, ‘Andor’) is electric, the rag-tag group of police contractors, the slew of disguises, and the whole slapstick-ness of it all are quite farfetched. Yet, with its slick script and charming lead performance, you can’t help but root for them the whole time, even if it’s all just a little too silly.

‘Hit Man’ further proves Linklater as a well-rounded director and welcomes Powell as Hollywood’s next leading man and I can’t wait for him in ‘Twisters’. While it’s not completely funny, ‘Hit Man’ is completely fun. ‘Hit Man’ is available to stream on Netflix this Friday.

📺 Watching: Ripley (2024)

All I offered you is my friendship and respect and asked for nothing in return.

I used to follow the YouTube channel ‘Every Frame a Painting’, and I couldn’t help but think of that channel name as soon as I saw Netflix’s new limited series 'Ripley'. It is brilliantly shot in black and white, with cinematography so meticulous that, at any given moment, pressing pause would capture a frame just like a painting. I mean, just look at these shots.

Adapted from the Patricia Highsmith novel 'The Talented Mr. Ripley', which has been adapted before, the series follows con man Andrew Scott ('Fleabag', 'Sherlock', 'All of Us Strangers') on a fraud-filled journey through 1960s Italy.

Unlike Scott’s other series 'Sherlock', which had a sharp wit, gripping mysteries, and a suspenseful pace, 'Ripley' tells its story at a slower and more structured pace, ensuring that its schemes resolve effectively — and this requirement for patience might not be for everyone.

Between Scott’s compelling performance and the show’s stunning compositions, this is a no-phone neo-noir show to pay attention to. ‘Ripley’ is currently available to stream on Netflix.

🎧 Listening To: The Interview from The New York Times

Has streaming been good for culture?

I think you're exposed to cultures around the world in a way that makes you more understanding and empathetic…And I think it just, like all storytelling makes the world a smaller, safer place.

‘The Interview’ is a new podcast from The New York Times. Each week, hosts David Marchese and Lulu Garcia-Navarro chat with prominent figures in culture, politics, business, and sports. Launched in April, the podcast has featured episodes with actor Anne Hathaway, radio host Charlamagne Tha God, and marine biologist Ayana Elizabeth Johnson.

Recently, they talked with Ted Sarandos, co-CEO of Netflix for the past 24 years. In their conversation, they discussed developing algorithms, the swing of subscribers, moving into live TV, influencing culture, and shaping entertainment. I was most intrigued to learn that Netflix is currently programming for 650 million people around the world. That’s equivalent to the population of the US, UK, Mexico, and Japan combined. And that weight of what to produce, predicting hits, and the constant responsibility of driving the habits and discourse of so many is incredibly fascinating to me. The full episode is available to listen to below.

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Thanks for being here.
— Justin

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