A mild-mannered professor moonlighting as a fake hit man in police stings ignites a chain reaction of trouble when he falls for a potential client.
Linklater's genre-blending comedy-thriller earned broad critical enthusiasm, with Powell's shape-shifting performance as a fake hitman widely seen as a star-making turn. The film doubles as a philosophical meditation on identity and selfhood — a quality most critics appreciated, though at least one found the philosophy-class framing too on-the-nose. The lone significant dissent called the film forgettable beneath its charm, putting it at odds with the overwhelming majority.
“a blast of pure pleasure and one of the year's best films”
Ty Burr·The Washington Post
“romantic, sexy, hilarious, satisfying and a genuine star-clinching turn for Glen Powell”
Alissa Wilkinson·The New York Times
“the question of whether there is in fact a true 'self', an irreducible core of authentic identity that remains behind when all imitations or influences are removed”
Peter Bradshaw·The Guardian
“overly obvious as expressions of the movie's themes”
Zachary Barnes·The Wall Street Journal
“forgettable, and often uninspired”
Chris Evangelista·Slashfilm
Comedy, Crime, Romance
A mild-mannered professor moonlighting as a fake hit man in police stings ignites a chain reaction of trouble when he falls for a potential client.
Linklater's genre-blending comedy-thriller earned broad critical enthusiasm, with Powell's shape-shifting performance as a fake hitman widely seen as a star-making turn. The film doubles as a philosophical meditation on identity and selfhood — a quality most critics appreciated, though at least one found the philosophy-class framing too on-the-nose. The lone significant dissent called the film forgettable beneath its charm, putting it at odds with the overwhelming majority.
“a blast of pure pleasure and one of the year's best films”
Ty Burr·The Washington Post
“romantic, sexy, hilarious, satisfying and a genuine star-clinching turn for Glen Powell”
Alissa Wilkinson·The New York Times
“the question of whether there is in fact a true 'self', an irreducible core of authentic identity that remains behind when all imitations or influences are removed”
Peter Bradshaw·The Guardian
“overly obvious as expressions of the movie's themes”
Zachary Barnes·The Wall Street Journal
“forgettable, and often uninspired”
Chris Evangelista·Slashfilm
Comedy, Crime, Romance