Director: Richard Linklater
Starring Glen Powell, Adria Arjona, Austin Amelio, Retta, Evan Holtzman, Sanjay Rao, Gralen Bryant Banks, Molly Bernard and Mike Markoff
Close-minded professor Gary Johnson (Glen Powell) moonlights as a fake assassin for the New Orleans Police Department. He excels at luring hapless victims until he finds himself drawn into morally questionable territory when he finds himself drawn to one of these would-be criminals, a beautiful young woman named Madison (Adria Arjona).
Writer-director Richard Linklater wants to join an illustrious cabal of assassin-themed comedies Grosse Point Blank And In Brugesby targeting the funny bone against a backdrop of death and deception in his based-on-a-true-story style, killer.
Takes a similar approach to Noah Hawley Fargo In the television series Linklater, Linklater takes us into an ordinary-looking world to highlight the extraordinary truth about undercover teacher Gary Johnson (a name that gets one of the biggest laughs in the film, and there are many). In fact, the entire film feels very Coen brothers-esque in the best possible way, taking a completely normal character and confronting her with a life-changing decision that goes against all her better instincts and that begins a chain of events that goes gloriously out of control device.
The powerful tone of the film is set from the start. Remember the team from the emergency vehicle True Lies Who would bicker and argue while Arnold Schwarzenegger defeated the villains? When he’s not teaching, Gary (Glen Powell) is the electrical expert in a low-rent version of this. Their mission is to conduct covert operations to prevent the residents of New Orleans from hiring hitmen to solve their problems. When Gary is reluctantly forced to go to the front and pose as an assassin named Ron, he is able to live out the Jungian psychology that makes up the contents of his classroom blackboard, a task that becomes infinitely more difficult when Madison (Adria Arjona) appears with one brown envelope.
Here, a film already brimming with a healthy dose of cleverness and charm thanks largely to Glen Powell’s chameleonic leading man unleashes an inferno of sharp humor, delicious twists and the kind of sex appeal not seen since Out of sight.
The screenplay was adapted by Powell and Linklater from Skip Hollandsworth’s Texas Monthly article, is peppered with the unforgettable dialogue one would expect from a filmmaker School of Rock And Dazed and confused in his CV. Linklater is always good. Linklater. But as good as it is, killer It wouldn’t be as well-received without the ensemble’s performances, which ensure that the unusual quirkiness transforms into something extremely funny and rewarding when the triumphant final flourish comes along. It’s a shame this is coming to a streaming service because killer has moments that play out like gangbusters in front of a large audience.
Powell is incredibly good. He manages to balance more extensive character changes than a terrible Michael Myers film while also creating sympathetic personalities for both his id and ego identities.
Adria Arjona is his equal, elevating what could have manifested as a neo-noir femme fatale archetype or borderline male wish fulfillment into an intelligent, layered, scene-stealing performance. Together, their chemistry is eye-catching.
Special mention goes to Austin Amelio’s captivating police officer. The walking dead The actor is memorably shady as the third wheel of the situation and is always at the center of some of the film’s biggest belly laughs.
The best film of its kind since then The nice guysLinklater’s killer is smart without being smug, sparkles with electricity bouncing between its great ensemble, and is arguably funnier than almost every comedy released in 2023 combined.
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