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ヒットマン
ヒットマン

ヒットマン

“彼は「最凶の殺し屋」。…のフリがうまい。”

20241h 56m★ 6.8コメディロマンス犯罪
Hulu

あらすじ

ニューオーリンズで2匹の猫と静かに暮らすゲイリー・ジョンソン(グレン・パウエル)は、大学で心理学と哲学を教える傍ら、地元警察に技術スタッフとして協力していた。ある日、おとり捜査で殺し屋役となるはずの警官が職務停止となり、ゲイリーが急遽代わりを務めることに。これをきっかけに、殺人の依頼者を捕まえるためにさまざまな姿や人格に変身する才能を発揮し、有罪判決を勝ち取るための証拠を引き出し、次々と逮捕へ導いていく。 ところが、支配的な夫との生活に追い詰められた女性・マディソン(アドリア・アルホナ)が、夫の殺害を依頼してきたことで、ゲイリーはモラルに反する領域に足を踏み入れてしまう。 セクシーな殺し屋ロンに扮して彼女に接触。事情を聞くうちに、逮捕するはずの相手に対し「この金で家を出て新しい人生を手に入れろ」と見逃してしまう……!恋に落ちてしまったふたりは、やがてリスクの連鎖を引き起こしていくことに――。

作品考察・見どころ

リチャード・リンクレイター監督の本作は、自己の変容とアイデンティティを巡る極上のエンターテインメントだ。グレン・パウエルが魅せる変幻自在な役柄は、人間が他者の期待に応えて何者にでもなれる可能性と、嘘が真実を侵食する危うさを浮き彫りにする。彼の演技は、観る者に「自分とは一体誰か」という根源的な問いを、軽やかかつ皮肉たっぷりに突きつけてくる。 アドリア・アルホナとの間に宿る圧倒的な磁力も、大きな見どころだ。二人のスリリングな駆け引きは、欺瞞と情熱が複雑に絡み合い、虚構が現実を塗り替えていく快感を見事に体現している。知的なユーモアと官能的な緊張感が融合した本作は、ジャンルの枠を鮮やかに解体し、観る者の好奇心を最後まで刺激し続けるだろう。

興行成績

製作費: $8,800,000 (13億円)

興行収入: $5,101,673 (8億円)

推定収支: $-3,698,327 (-6億円)

※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。

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キャスト

グレン・パウエル
グレン・パウエル
Gary Johnson
Adria Arjona
Adria Arjona
Madison Figueroa Masters
Austin Amelio
Austin Amelio
Jasper
Retta
Retta
Claudette
Sanjay Rao
Sanjay Rao
Phil
Molly Bernard
Molly Bernard
Alicia
Evan Holtzman
Evan Holtzman
Ray
Gralen Bryant Banks
Gralen Bryant Banks
Sargeant Hank
Mike Markoff
Mike Markoff
Craig
Bryant Carroll
Bryant Carroll
Walt

スタッフ・制作会社

監督: Richard Linklater

脚本: Richard Linklater / グレン・パウエル / Skip Hollandsworth

音楽: Graham Reynolds

制作: Michael Costigan / Richard Linklater / ジェイソン・ベイトマン

撮影監督: Shane F. Kelly

制作会社: Aggregate Films / BarnStorm Productions / Detour Filmproduction / AGC Studios / Cinetic Media / Monarch Media / Shivhans Pictures

TMDB ユーザーのレビュー

Manuel São Bento
Manuel São Bento
★ 8

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/hit-man-venice-film-festival-review-one-of-the-years-greatest-comedies/ "Hit Man leaves everyone floored with one of the best comedies of the year in a magical case of cinema in which direction, screenplay, and cast combine so well with each other that, in the end, it's impossible not to applaud. Richard Linklater and Glen Powell deliver an insanely hilarious, genuinely entertaining script elevated by the filmmaker's flawless technical execution and career-best performances from Powell and Adria Arjona. A light, non-stop narrative filled with memorable, thought-provoking, sharp dialogue, exploring notions of identity and personality through the question: "can we really change who we are?" One of the most sensationally enjoyable theater experiences in recent years." Rating: A-

CinemaSerf
CinemaSerf
★ 7

At this rate, Glen Powell is going to be able to pay Tom Cruise back for his flying lessons pretty swiftly! Here, he's a rather geeky teacher (Gary) who teaches philosophy at a college whilst occasionally helping out the cops with some criminal profiling. When one of their investigators "Jasper" (Austin Amelio) goes a bit too far and gets suspended, Gary gets drafted in last minute and proves quite effective at getting folks who want to bump of their nearest and dearest for $5,000 to admit their cunning plans to a well wired-up con. The more of these cases he does, the better he gets; the more fun he has dressing up and adept he becomes at assuming a range of identities. It's "Maddy" (Adria Arjona) who sets the cat amongst the pigeons when she asks him to get shot of her thuggish husband "Ray" (Evan Holtzman). He takes a shine to her and talks her out of her criminal ploy. Quickly the two are seeing each other - which is manna from heaven for the deposed "Jasper". When her husband is found dead, he thinks he knows exactly who did what and how best to exact his revenge... It's quite an entertaining romantic thriller this, providing Powell with an opportunity to charm his way through an almost two hours of cinema that is light and fluffy, completely preposterous yet based on a true character. Arjona looks like she is having a good time here, too - and the last twenty minutes are quite fun. No, it won't trouble a BAFTA jury I suspect - but it's quite enjoyable summertime fayre.

r96sk
r96sk
★ 9

<em>'Hit Man'</em> is fun! Glen Powell and Adria Arjona team up to form a strong acting chemistry, I enjoyed seeing them both feature all the way through - two great performances. On the note of the cast, good to see Austin Amelio appear; I like that guy from his <em>'The Walking Dead'</em> days. This movie is paced very well, the two hour run time did not feel of that length at all. It holds an interesting and fairly amusing plot, one brought to life by everyone involved on and off screen very nicely. It's goofy in certain ways, though that is only a positive to be honest. I also thought it was going to end slightly differently, but again that's not a negative.

dumasori
dumasori
★ 6

**Passable** I watched this movie with low expectations, and I wasn't disappointed. This movie falls into the mid-level cheesy category, offering a fair amount of entertainment without being extraordinary. The actors are good at what they do, and the direction is also good. However, you can only do so much with a mediocre plot. Overall, watchable one time.

Louisa Moore - Screen Zealots
Louisa Moore - Screen Zealots
★ 3

Richard Linklater‘s “Hit Man” is a film with a serious identity crisis. This genre blending disaster starts out as a wannabe goofy comedy, then veers off the rails into dark noir, finally settling on a bizarrely erotic femme-fatale rom-com. This movie is absolutely terrible, and its only saving grace is its lead’s bonafide Hollywood star power. Straight-laced professor Gary Johnson (Glen Powell) has an odd hobby: he moonlights with the New Orleans Police Department as a fake hit man. With a penchant for inhabiting different personalities and donning outrageous costumes, Gary has a knack for telling potential clients (and marks) just the right things to get them arrested. Things get complicated when he falls for Madison (Adria Arjona), a potential criminal who meets with Gary to discuss hiring him to murder her awful husband. The two start a romantic relationship in a sea of deception and moral ambiguity, which changes Gary’s life forever. It’s a great premise for a film, but Linklater just can’t make it work. While he admittedly isn’t one of my favorite directors, he completely misses the mark here. The narrative is disjointed and the tonal inconsistencies are too jarring, and no amount of talent can balance the uneven, overstuffed elements of comedy, romance, and thriller. The film struggles on just about every level, but thankfully Powell saves it from being completely unwatchable. Powell is the highlight here. His charm and versatility shines as he navigates the complex layers of his character. This is an actor who is a true chameleon, and the film at least provides a vehicle where he can showcase his range. Powell is great; the movie is not. Linklater introduces a lot of bland melodrama with the relationship between Gary and Madison and, despite a believable chemistry, it causes the film to stumble even more. With her character’s motivations being murky at best, it was impossible to feel fully invested in Madison’s relationship with Gary’s alter-ego, Ron. For a film that had the potential to be so unique, it ends up feeling generic and unsatisfying. Despite having a small theatrical release, “Hit Man” is a disappointing effort that appropriately feels right at home as a streaming title on Netflix. By: Louisa Moore / SCREEN ZEALOTS

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