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With its off-the-shelf title, I had worked up less than a white-hot enthusiasm to see "Hit & Run," but it's a lot more fun than the title suggests. How many chase comedies have you seen where the hero's sexy girlfriend has a doctorate in nonviolent conflict resolution? Her counseling would have been invaluable to the U.S. marshal ( Tom Arnold ) in an early scene where he attempts to shoot his own SUV.

There's a lot of funny stuff, but the most unexpected comes from Arnold, who has been uneven, to say the least, in his movies. His marshal, named Randy, works with the Federal Witness Protection program and is assigned to protect a likable guy named, yes, Charlie Bronson ( Dax Shepard ). We meet Charlie in the arms of his sweet girlfriend, Annie ( Kristen Bell ); they live in a bucolic northern California town, where she teaches in a local college. She has no idea he's a witness who needs protecting.

Good news brings trouble. Annie gets an interview to start the nation's first nonviolent conflict resolution department at a prestigious Los Angeles university. L.A. is, alas, the last place Charlie wants to go, and the very place where he most needs protection. Annie's boss ( Kristin Chenoweth ) orders her to go for the interview, because she's too good for her current job. Charlie's love overcomes his fears, and he's determined to drive her to L.A. himself, no matter the risk.

This introduces his slab-sided 1967 Lincoln Continental with a customized 700-hp engine. This classic car is necessary for the same reason all classic cars are used in movies: Most contemporary cars look generic. I learn that Dax Shepard is a car fan and used mostly his own cars in the movie, which is a brave gesture in the name of art, because the movie's vehicles have alarming experiences.

Shepard (TV's " Parenthood ") wrote the movie, co-directed it, starred, did stunt driving and in general is responsible for it. He also recruited his real-life girlfriend, Kristen Bell, to share the lead. IMDb reports the movie took only 10 weeks from plot outline to the martini shot, and most of the actors deferred their salaries. I mention that only because few action comedies are made with this much organization and precision. The plot grows complex, characters shuttle in and out, and everyone seems to be having a good time. I got the sense that it was a happy shoot, as if they knew it was going well; most action movies have characters who seem to be exhausted or victims of tunnel vision.

Among the other characters who speed things along is Gil ( Michael Rosenbaum ), Annie's intensely jealous former boyfriend, and Gil's brother, Terry ( Jess Rowland ), a gay cop who joins in a chase I'm not sure he completely understands. Terry has a cell-phone app that I suspect is now being written into a dozen other movies. It's called Pouncer, and he explains it with pride to his female partner. If you have it activated, it sends out pings to other nearby gay people, who display as little targets on a map. This app is an excellent reason not to use your iPhone while driving.

In the way Charlie gradually reveals his past to Annie, he's like a kid caught shoplifting. She loves him, she appreciates him for speeding her to L.A., but how many shocking revelations is he going to make? They work convincingly together, and the movie is ever so much better than a film titled "Hit & Run" has any right to be.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Hit and Run (2012)

Rated R for for pervasive language including sexual references, graphic nudity, some violence and drug content

100 minutes

Dax Shepard as Charlie Bronson

Tom Arnold as Randy

Kristen Bell as Annie

Kal Bennett as Mary Ann

Beau Bridges as Clint Perkins

Kristin Chenoweth as Debbie

Bradley Cooper as Alex Dimitri

Michael Rosenbaum as Gil

Jess Rowland as Terry

Directed by

Dax Shepard
David Palmer

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Movie Review: Hit and Run ’s Real-Life Romance Adds to This Amiable Little Romp

Hit and Run is one of those movies you want to love as it ambles along, even as you calculate all the bothersome little things about it. Dax Shepard’s second directorial feature (he shares credit with David Palmer, who also co-directed their first, 2010’s Brother’s Justice ) is a hybrid of a gearhead-car-chase flick and a touchy-feely romantic comedy. But the car chase is more quirky than suspenseful, and the romance thin, though charming. The film has its problems, to be sure, but it builds up a head of goodwill, and you want to forgive its problems.

A lot of that good will is due to Shepard, an underestimated actor whose low-key charisma often comes close to stealing whatever show he’s in. He moves with the easy grace of a free spirit, but he has a face that bespeaks worry, which turns out to be perfect for the part of Charlie Bronson, née Yul Perkins, a former getaway driver now living in the witness-protection program in a small town with his girlfriend Annie (Kristen Bell) and being watched over by incompetent but friendly U.S. marshal Randy (Tom Arnold). Annie doesn’t quite know the extent of Charlie’s involvement in the criminalities he testified against four years ago; she thinks he was just a witness. Still, when she gets a job opportunity in Los Angeles teaching nonviolent conflict resolution (yes, the film does have some fun with that), she’s ready to say no, knowing that Charlie can’t come with her. Charlie, however, won’t let her refuse the gig and decides to return to the big city out of love for her. But to its credit, the film doesn’t play this up as some elaborate romantic gesture: Charlie and Annie have a leisurely little love affair going, and it makes perfect sense that he’d go with her. (Shepard and Bell are an actual couple, and this is that rare movie where you can sort of imagine the relationship the two leads might have in real life.)

Anyhoo, things don’t quite go as planned. When Annie’s preening ex Gil (Michael Rosenbaum, whom you might remember as the young Lex Luthor in Smallville ) finds out she’s headed out of town with Charlie, he digs up our hero’s past and Facebook messages the guy Charlie/Yul double-crossed: a dreadlocked sociopath named Alex Dmitri (Bradley Cooper), whom we first meet practically murdering some dude over his choice of dog food. And we’re off to the races, as they say.

Shepard and Palmer have some fun intercutting Charlie and Annie’s romantic banter and minor squabbles as Alex and the bad guys close in on them, but it’s not really suspense or conventional drama the film is going for. Whenever it has to move the story forward, the script seems to fall apart, with expository dialogue that’s way too on the nose (“So, how did you get stuck with witness protection?” is an actual question Charlie asks of Randy, after what must be years of knowing him) and key scenes that seem to just fizzle away into nothingness. It’s more interested in obvious, occasionally funny, exchanges over such topics as prison rape, social networking, the types of people who like vintage cars, and when it’s appropriate to use the word “fag.” Even when Charlie finally gets the chance to let his long-dormant, tricked-out, custom-built car rip, the film refuses to amp up in suspense or threat level. We’re expecting speed, but we get languor instead, as Charlie starts doing slow-mo 360s to the sounds of “Pure Imagination.” The effect is strangely comforting, even joyous.

Throughout that scene and others, the camera often cuts to Annie and Charlie in the front of the car. All logic dictates that she should be terrified, but the expression on Bell’s face is one of glee. Then you realize that what we’re watching is probably not the usual movie trickery, but Shepard doing his own stunt driving, his real-life fiancée beside him. Whether for budgetary or artistic reasons, most of the film plays out in the creatively muted register of Shepard and Bell’s romance. Which is probably for the best, because they’re the most interesting part of the movie. Hit and Run works less as a film and more as a likable, semi-documentary romp among friends. The illusion of the drama may be gone, but it’s been replaced by something more authentic and adorable. And we might be okay with that.

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Review: ‘Hit & Run’ a contender in summer’s guilty pleasure race

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“Hit & Run,” the low-budget, lowbrow car chase comedy starring Dax Shepard, Kristen Bell, Bradley Cooper and Tom Arnold, is a strange, but strangely entertaining combo of drag racing machismo, slapstick silliness, raunchy riffs, politically incorrect rants and sweet nothings.

Revving up its R-rated engines, then detouring for relationship repairs, the sincere and the absurd work in fits and starts. Though “Hit & Run” isn’t consistent enough to put it in the league with car chase/rocky relationship classics like Robert De Niro and Charles Grodin’s “Midnight Run,” it’s certainly a contender in this summer’s guilty pleasure race.

Shepard co-directed, with David Palmer, and wrote the story in which he plays a former bank robbery getaway driver now living in small-town safety under the witness protection plan and an assumed name — Charlie Bronson. Life is sunshine and lollipops until new girlfriend Annie (Bell, who is Shepard’s real-life fiancée) has a shot at her dream job at a major university. The only downside is that it would require going back to the scene of his crimes, in this case Los Angeles.

Driving Annie there would be risky regardless. But Charlie’s decided to take the old getaway car out of mothballs, a 1967 souped-up Lincoln (one of Shepard’s real cars; there’s a pattern emerging). It makes flying under the radar much harder and is only one of many complications that will beset the couple. Indeed, their relationship is threatened at every turn as cars are mangled, the truth is twisted and Charlie’s dark secrets get spilled.

Helping mix things up are a series of comic sideshows, most of them conducted by Shepard’s circle of friends, or at least those willing to work for scale. Randy (Tom Arnold huffing and puffing delightfully) is Charlie’s federal marshal minder. More baby than babysitter, he’s a gun-dropping doofus who is especially dangerous when he’s behind the wheel, which in this movie is a lot.

But the serious trouble starts when Annie’s pecs-flexing ex (Michael Rosenbaum) Facebook-friends the guy Charlie doubled-crossed. That would be Alex Demitri (Cooper), who swings wildly between sensitive and brutally insane, his bleached-out dreadlocks helping diminish the usually suave power of People’s sexiest man alive.

Meanwhile, Shepard just keeps piling on more bodies. Joy Bryant, who plays Shepard’s wife in the TV drama “Parenthood,” turns up as Alex’s girlfriend. Charlie’s estranged dad (Beau Bridges) checks in with a bone-crunching cameo, Annie’s boss (Kristin Chenoweth) is another piece of work and a bunch of other comic actors drop by.

As promised by the title, there is a lot of car chasing on the road to L.A., although it seems more of the donuts-in-a-parking lot variety — tires squealing around tight circles. But Shepard’s character spends most of his time dealing with everyone else’s issues. As it happens, Alex’s anger at being double-crossed is nothing compared with Annie’s, who keeps reeling as new details about Charlie’s past emerge.

The writing is more disciplined than the directing, which gets rough around the edges the more the action spins out of control. The benefit of having friends fill the film, besides the sheer talent, is that it makes for good chemistry on screen; not surprisingly, the best is between Bell and Shepard. From the opening moments that find Charlie and Annie still in bed, the tone is set — playful sweetness, rather than steamy sex, as he tries to shore up her ego. The couple has said Charlie and Annie’s relationship looks a lot like theirs and you believe it.

The comedy, however, comes from any number of sources. There is a good bit of slapstick, most of it courtesy of Arnold, whose marshal is about as hapless and hopeless as the Stooges’ Curly. At other times the humor comes from unexpected quarters, the “surprises” as likely to elicit groans as guffaws since this is where the gross-out factor is in overdrive. And finally, there is the funny that is mined from the friction that accompanies any relationship.

This is Shepard’s strong suit and it is where the film is at its best as the actor uses his perpetual talkie-deadpan to tackle hard truths. Whether Charlie is arguing that teasing is just a ruse for real issues or trying to diffuse Alex’s anger over a humiliating prison romance, Shepard has an eccentric way of mixing the farce and the facts. It serves to make Charlie as endearing as he is frustrating, which definitely comes in handy for the times “Hit & Run” goes off track.

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‘Hit & Run’

MPAA rating: R for pervasive language including sexual references, graphic nudity, some violence and drug content

Running time: 1 hour, 35 minutes

Playing: In general release

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George Lucas Rewrote The Phantom Menace's Victory With A Single Line

Vin diesel teases fast 11 will include key brian car in bts video, new fast & furious rival already has 1 major advantage over $7.4 billion franchise, if you're a fan of any of the leads - or a pop-cult enthusiast who follows shepard and bell offscreen - this movie will deliver the charm..

In Hit & Run , real-life couple Dax Shepard and Kristen Bell play onscreen couple Charlie Bronson and Annie. Charlie is a self-named member of the witness protection program, hiding out in a small rural town where he enjoys a simple life of love, and days spent worrying over his buffoonish handler, Randy (Tom Arnold). Charlie's happy world begins to crack when Annie is offered a job developing her own curriculum at a university in Los Angeles - the home of Charlie's criminal past, and a lot of bad people who want to get even with him.

Trying to prove his love, Charlie dusts off his bad boy muscle car and scoops Annie for a high-speed run to her LA job interview. But when Annie's jealous ex-boyfriend Gil (Michael Rosenbaum) tries to undermine the happy exodus, he unwittingly brings down all the wrong kind of heat on the situation. Before long, Charlie and Annie's road trip is a high-speed chase, complete with shootouts, buried treasure, and...a dune buggy.

Hit & Run was written and co-directed by Shepard; the other half of that directorial team is David Palmer, Shepard's friend and collaborator (the two made another indie comedy called Brother's Justice ). Much of the cast is also made up of names the lead actors have worked with before, and/or call friend; in that sense, Hit & Run has a pretty tight-knit atmosphere, with plenty of chemistry between the players onscreen. On the other hand, a lot of Hit & Run depends on your reaction to seeing a real-life couple get mushy while playing around with their friends - and as the very first scene clearly establishes, that's the type of "fun" this movie is going to offer.

For their parts, Bell and Shepard are a cute couple, with cute chemistry, and are pleasant enough to watch. They actually manage to act like real people in a real relationship, and much of the dialogue and romantic humor in Shepard's screenplay is humorously real and relatable. (Of course, at times the dialogue could've used an infusion of melodrama: realistic conversation doesn't always make for an interesting movie.) There are some great comedic moments (usually the raunchier ones), while in other instances, the slapstick physical comedy or one-dimensional caricatures don't work that well at all. As a whole, the movie is a bit uneven in this way.

With the lead couple and scene-to-scene dialogue both getting passing grades, it's easier to forgive some of the lacking areas of the film, such as the inexperienced direction and flimsy plot progression. Palmer and Shepard are clearly still developing their techniques working behind the camera - and while static scenes in the film are fine, action scenes requiring a lot of moving camera work are pretty mundane. Palmer (a former music video and commercial director) shows some difficulty in making the transition to film, as many of the vehicular chase sequences look more like the short-form formats he's experienced in, rather than something you'd want to see in action cinema. The Fast and the Furious this movie is not.

The progression and development of the screenplay also shows inexperience. After a solid enough opening setup, our protagonists hit the road, where the meandering and random coincidences begin to drag things down. The primary through line (Annie's job interview deadline in LA) gets all tangled up in the character arcs (Annie and Charlie having to confront and deal with the reality of Charlie's past) to the point that somewhere in the middle, it is somewhat unclear where motivations lie. Luckily, when such questions start to arise, another secondary character/plot-thread arrives to push things along to the next stop along the road. The narrative barely works, but it works.

Tom Arnold goes overboard as Charlie's trigger-happy (more like trigger-sloppy) handler, Randy; Bradley Cooper dons blonde dreads to play a vengeance-seeking accomplice who has one of the odder criminal temperaments I've seen; Shepard's Parenthood co-star Joy Bryant plays the inexplicably hot girl who is also part of Charlie's former gang (for whatever reason); Smallville alum Michael Rosenbaum plays the caricature of the jealous ex-boyfriend with such aplomb it's hard to hate him (easy to hate his character, though); while other famous faces pop up here and there in cameos that are either hilarious and sensible (Kristin Chenoweth and David Koechner), or awkwardly out of place (Beau Bridges).

'Gang's all here' friend-films like Ocean's 12 can be risky propositions, but Hit & Run manages to avoid being the worst of the bunch. As an action comedy, it's a fairly good time; though whether it's a good enough time for theater ticket price is highly debatable. If you're a fan of any of the leads - or a pop-cult enthusiast who follows Shepard and Bell offscreen - this movie will deliver the charm. For more hardcore fans of the genre, this will more likely be a "hit it and forget it," experience.

Hit & Run is now playing in theaters. It is Rated R for pervasive language including sexual references, graphic (elderly) nudity, some violence and drug content.

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Hit & Run

Comic actor Dax Shepard isn't the kind of guy who comes to mind when trying to cast a Hollywood action movie. After putting himself in the driver's seat with "Hit & Run," however, the goofy-acting "Punk'd" host merits future consideration. An unexpectedly satisfying date-movie spin about a redneck lothario (Shepard) who confronts old demons in order to drive his booksmart g.f. (Kristen Bell) to a big-city job interview, this low-budget B movie looks poised to surprise, potentially rivaling the success Open Road Films enjoyed with "The Grey" earlier this year.

By Peter Debruge

Peter Debruge

Chief Film Critic

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Comic actor Dax Shepard isn’t the kind of guy who comes to mind when trying to cast a Hollywood action movie. After putting himself in the driver’s seat with “Hit & Run,” however, the goofy-acting “Punk’d” host merits future consideration. An unexpectedly satisfying date-movie spin about a redneck lothario (Shepard) who confronts old demons in order to drive his booksmart g.f. ( Kristen Bell ) to a big-city job interview, this low-budget B movie looks poised to surprise, potentially rivaling the success Open Road Films enjoyed with “The Grey” earlier this year.

Arriving on the heels of “Brother’s Justice,” a 2010 mock doc in which Shepard and co-director David Palmer explored the possibility of transforming the cheeky prankster into a Chuck Norris -style action hero, “Hit & Run” represents a far savvier vehicle for such a career rewrite than the Z-grade exploitation pics pitched in that film. Even so, “Hit & Run” relies on many of the same actors and friends — Tom Arnold, Bradley Cooper and David Koechner among them — to support the endeavor.

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Shepard plays Charlie Bronson, a meathead who seized the opportunity of entering the witness protection program to reinvent himself as a better man. Stuck in a backwater California town, Charlie seems admirably devoted to Annie (Bell), a brainy Ph.D . with a degree in conflict resolution who’s stuck teaching at a local community college. But their relationship is tested when her well-meaning boss (Kristin Chenoweth) threatens to fire Annie unless she interviews for her dream-job opening at UCLA.

At this point, neither the audience nor Annie knows anything about Charlie’s past, but little by little, clues emerge he’s a muscle-car aficionado originally christened Yul Perrkins, who may have witnessed a bank robbery back in L.A. For Charlie, Annie’s job opportunity means defying the inept federal agent (Arnold) assigned to his case, and then having to face the gang he testified against — a trio headed by Cooper.

Most of what follows is fairly stock stuff, but the formula works for several well-calculated reasons. Shepard (who wrote the script) tailors his character for maximum female appeal, playing Charlie/Yul as a scruffy fixer-upper. Whatever mess the guy was mixed up with back in L.A., Shepard looks a shave and a haircut away from being marriage material. He’s puppy-dog loyal, has a great sense of humor and always knows exactly what to say to soothe Annie’s neuroses.

Charlie caters to the macho contingent as well, earning Annie’s disapproval as he cracks off-color jokes at the expense of gays, hicks and other races — a canny cake-and-eat-it strategy by which the film can land the un-PC laugh, then correct it with a more enlightened rebuttal. Guys will also appreciate Charlie’s choice of wheels: a turbo-charged 1967 Lincoln Continental, the same sleek black sedan featured in “The Matrix.” If Annie is his wife-to-be, then this baby is his mistress.

Above all, real-life couple Shepard and Bell bring genuine chemistry to this high-energy excursion. Charlie may be the one behind the wheel, but Annie’s refreshingly intelligent and assertive personality elevates her beyond mere love interest, offsetting the script’s sophomoric tendencies with her erudite badinage.

Shepard and Palmer’s lean co-helming effort should connect especially well for middle-American auds seeking characters and stories that approximate the thrill of crashing tailgate parties and NASCAR races.

The fact that Shepard is chummy with a number of fairly recognizable actors merely sweetens the deal, with memorable turns from Arnold and Cooper, as well as a wonderfully abusive cameo by Beau Bridges. Arnold in particular enjoys a chance to monkey with his too-often-typecast hothead persona. Barely able to control his own firearm, his flustered “Smokey”-like lawman not only updates the ’70s-chase-movie formula by joining forces with Shepard’s affable bandit, he also gets his own romantic subplot, courtesy of Pouncer, a GPS-based gay-dating app clearly modeled after Grindr.

Shepard and Palmer’s shared direction is alternately energetic and easygoing, smoothly shifting gears between hot-rod and romantic comedy modes. Bradley Stonesifer’s sharp widescreen lensing gives the pic a pro finish. Version screened was missing end credits.

Production: An Open Road Films release and presentation in association with Exclusive Media of a Panay Films, Primate production in association with Kim and Jim Prods. Produced by Andrew Panay, Nate Tuck, Kim Waltrip. Executive producers, Jim Casey, Erica Murray, Tobin Armbrust, Guy East, Nigel Sinclair. Co-executive producers, Paul Bojic, Paul Bunch. Directed by Dax Shepard, David Palmer. Screenplay, Shepard.
Crew: Camera (color, widescreen), Bradley Stonesifer; editor, Keith Croket; music, Julian Wass; music supervisors, Jason Altshuler, Laurence Freedman; production designer, Emily Bloom; art director, Mariano Rueda; set decorator, Liz Callens; costume designer, Brooke Dulien; sound (Dolby Digital/Datasat), Sean O'Malley; sound designer, Jeffrey A. Pitts; supervising sound editor, Michael Perricone; re-recording mixers, Gary Coppola, Perricone; special effects coordinator, Dennis Dion; visual effects supervisor, Mike Dillinger; visual effects, Ovni Armada; assistant director, Michael Breines. Reviewed at the Aidikoff screening room, Beverly Hills, Aug. 1, 2012. MPAA Rating: R. Running time: 94 MIN.
With: Charlie Bronson/Yul Perrkins - Dax Shepard Annie Bean - Kristen Bell Alex Dmitri - Bradley Cooper Randy Anderson - Tom Arnold Neve Tatum - Joy Bryant Debby Kreeger - Kristin Chenoweth With: Jason Bateman, Beau Bridges, David Koechner, Michael Rosenbaum, Jess Rowland, Nate Tuck.

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Stream It Or Skip It: ‘Hit & Run’ On Netflix, Where A Man Goes From Tel Aviv To New York To Investigate His Wife’s Death

Where to Stream:

Hit & Run

Netflix Israeli Drama 'Fauda' Crew Member Reported Dead In Gaza

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Lior Raz and Avi Issacharoff are no strangers to Netflix; they created the hit Israeli series Fauda for the service, which drew on the pair’s experiences in the Israeli Defense Forces. Their new show, Hit & Run , also draws on those experiences, but it adds something to the mix: A husband investigates his wife’s death in Tel Aviv, but soon ends up in New York, working his contacts there, as well. The series mixes well-known Israeli and American actors and settings while maintaining the action thriller bona fides the pair established with Fauda.

HIT & RUN : STREAM IT OR SKIP IT?

Opening Shot: Prisoners are milling about the prison yard. A prisoner with a bird tattoo on his hand is waiting in his cell. A guard tells him to go out to the compound.

The Gist: In the compound, the prisoner is confronted by another inmate, and he’s beaten within an inch of his life. Three weeks earlier, we see that man, Segev Azulay (Lior Raz) in Tel Aviv, watching his wife, Danielle Wexler (Kaelen Ohm), performing with Israel’s prestigious Batsheva Dance Company. Segev, who runs his own tour guide company and Dani have been married for a year or so, and quite happily. Segev’s daughter Ella (Neta Orbach) is enamored with her stepmother. Everything seems like it’s going well in Segev’s life.

Dani is taking a trip back to the U.S. to audition for a dance company in New York. It’s a trip that Segev doesn’t really want her to take, because if she gets the job, it’s likely that he and Ella will stay in Tel Aviv. Dani gets a text before she leaves for the airport, telling her not to ignore whoever is sending it. She tells the driver, family friend Moshe (Yoram Tollendano) to wait while she sees her friend Syd (Siena Kelly) and tells her to give “him” a note.

Then she stops at a cafe to get some coffee for her and Moshe. On her way out, she’s run over by a car, which momentarily stops then leaves the scene.

Segev gets the call and rushes to the hospital, but Dani is already gone. He has to call Dani’s father, Martin (Gregg Henry) to break the tragic news, but the hardest thing he’ll have to do is tell Ella. First, though, another family friend, Tali Shapira (Moran Rosenblatt) visits the hospital. She’s a police detective, and Segev wants her to look into things, since the police so far have no info. As she investigates, she finds that the car was owned by a local gang leader, whom she chases down in the streets of Tel Aviv.

As Segev goes to pick up Ella and tell her about Dani, he flashes back to when they met; she took a tour with him and they got on so well she went with him to pick up Ella.

When he gets Dani’s phone back, he sees texts and missed calls from the same number. And when he answers one of those calls, he’s shocked to find a man calling her by an affectionate name. That man is Assaf (Lior Ashkenazy), a married Mossad director who only finds out through a news report that Dani is dead. It’s then we find out during another flashback is that Dani and Assaf were together when Dani met Segev.

What Shows Will It Remind You Of? Hit & Run has the feeling of one of the many Harlan Coben adaptations on Netflix, like The Innocent . However, this is not a Coben adaptation, but an interesting mix of Israeli and American writers, actors and producers.

Our Take: The idea for Hit & Run came from Raz and Avi Issacharoff (both of whom created Fauda ), who are executive producers, but the show is run by American producers Dawn Prestwich and Nicole Yorkin. The production spans not only Tel Aviv, but New York as well, and well-known American actors like Henry and Sanaa Lathan, playing an ex of Segev’s who helps him search for Dani’s killers, are featured. It definitely makes for an intriguing mix, producing a thriller that has a bit of a different feel than most shows of this type have been like in recent years.

Mike Barker, who directed the first episode, gives the show a bit of an Israeli feel, with zoom-ins and some camera pans as the tension ramps up. And he makes sure to show Segev’s tattoos often, to give viewers a hint that he’s got a complicated past for a guy who drives tourists around Israel for a living. It’s what makes things surprising but not shocking when he finds an intruder in his home after Shapira starts probing the accident, and in the ensuing struggle, he breaks the guy’s neck. A tour guide doesn’t have that kind of training in is toolbox.

It’s a show that has a lot of action, like car chases and fights, but it’s also thoughtful and deliberate. It takes the time to flash back and examine Segev and Dani’s relationship and examine not only the emotional underpinnings about what else was going on without Segev’s knowledge, like her relationship with Asaaf.

Raz’s performance is defiant and distraught all at once, and he’s supported by veteran Israeli actors like Roseblatt and Ashkenazi. But he also plays well off American and Canadian actors like Henry and Ohm. It helps that this is based on an idea of his that delves into his life in the IDF, but Raz definitely pulls off more than just action-star-level emoting in the more dramatic scenes.

The first episode sets up so many intriguing scenarios: Was Dani an undercover informant who accidentally fell in love with her handler? What’s going on with Segev? And why does he follow the trail of clues about Dani’s death to New York? A first episode that sets up that many intriguing questions is rare, and makes the decision whether to watch more an easy one to make.

Sex and Skin: Surprisingly, none.

Parting Shot: Segev brings Ella to her mother’s house, making sure she doesn’t see the dead intruder as they leave. After calling in the intruder’s death to Israeli 911, he returns to his house to see that the dead man’s body has been removed.

Sleeper Star: We will always give this to Gregg Henry, one of our favorite character actors . We’re anticipating that his role as Dani’s father will mean he’s pretty involved in what Segev turns up about Dani when he comes to the states.

Most Pilot-y Line: We’re not sure we really needed the first scene, where Segev gets the snot beat out of him in prison. Our guess is that he got himself in there as a way to track someone down. We’ll find out, but the flash forward initial scene didn’t add much to the intrigue, and by now it’s an overused device.

Our Call: STREAM IT. Hit & Run boasts a fine international cast, an interesting premise, and opens up a lot of story avenues without confusing the viewer.

Will you stream or skip the Israeli/American action thriller #HitAndRun on @netflix ? #SIOSI — Decider (@decider) August 8, 2021

Joel Keller ( @joelkeller ) writes about food, entertainment, parenting and tech, but he doesn’t kid himself: he’s a TV junkie. His writing has appeared in the New York Times, Slate, Salon, RollingStone.com , VanityFair.com , Fast Company and elsewhere.

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Hit & run, common sense media reviewers.

Real-life couple has chemistry in raunchy car-chase flick.

A Lot or a Little?

What you will—and won't—find in this movie.

Amid the movie's chaos and over-the-top conten

Although the movie's characters have "col

Several mentions of rape are made in an off-hand m

Full-frontal nudity of elderly men and women in tw

Nearly every line of dialogue contains strong lang

Brands shown/mentioned in the movie include Apple

Adults are shown smoking marijuana and drinking he

Positive Messages

Amid the movie's chaos and over-the-top content are worthwhile lessons about honesty, unconditional love, and changing your life.

Positive Role Models

Although the movie's characters have "colorful" pasts and get up to plenty of questionable antics, there's some upside, too. Annie, a non-violent conflict resolution specialist, is intelligent, kind, and incredibly understanding. She believes in tolerance, non-violence, and honest communication. And she learns to forgive Charlie after he proves that he's changed since his days as a criminal. Charlie demonstrates how sometimes people really do evolve, repent, and are deserving of a second chance.

Violence & Scariness

Several mentions of rape are made in an off-hand manner, including an extended, uncomfortable conversation about prison sodomy and a casual, almost comical reference to alcohol-fueled date-rape. The dialogue makes it seem like rape can be a funny subject. A U.S. Marshal with terrible aim has a gun that goes off easily. A couple of bloody hand-to-hand encounters: One nose-breaking results in a blood-splattered face and shirt, another guy is temporarily knocked unconscious, and a third guy is dragged by a dog collar. One man is shot in the shoulder, and another is continuously punched in the face. Lots of scrapes and bruises for the main characters, but no one is killed.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Full-frontal nudity of elderly men and women in two very brief scenes when characters accidentally barge into a motel room full of nude seniors apparently engaged in an orgy (though there's no sexual activity other than lounging or standing around naked). Also romance, passionate kissing, sexual references (including "happy ending" massages), and the intimacy of a couple in love, but not any actual sex.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Nearly every line of dialogue contains strong language, particularly "f--k" (100+ uses). Also "s--t," "bitch," "d--k," "p---y," "a--hole," "damn," "prick," "t-ts," "hell," "oh my God," "goddamn," and a ton of euphemisms for sex acts. In one discussion, different kinds of men are talked about in a potentially offensive manner.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Brands shown/mentioned in the movie include Apple (MacBook, iPod, iPhone, iPad), Dunkin Donuts, Lincoln Continental, Cadillac, Toyota Prius, Corvette, Xanax, Facebook, and more.

Drinking, Drugs & Smoking

Adults are shown smoking marijuana and drinking heavily. A character keeps mentioning the benefits of taking prescription pills (like Xanax) and adding liquor in for a "kick."

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Hit & Run is an action comedy that includes brief full-frontal nudity, drug use, violence, and extremely strong language -- all of which make it inappropriate for young teens. The language is pervasive -- nearly every line of dialogue contains a "f--k" or "s--t," and there are some potentially offensive comments about rape and ethnicity. In two brief scenes, the audience sees a group of seniors completely naked (an orgy is implied but not shown), but otherwise the sexuality is more PG-13 than R (some passionate kissing, conversations in bed, a reference to a massage having a "happy ending" and discussions of sexual orientation). Violence includes bloody hand-to-hand combat and gun use, though overall the movie's tone is light. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Based on 2 parent reviews

Awesome Movie

Hit and run (2012) review by shivom oza – caught, what's the story.

Annie ( Kristen Bell ) is a small-town California professor who's offered the opportunity of her career if she agrees to move to Los Angeles. Unfortunately for Annie, her boyfriend, Charlie ( Dax Shepard ), is under witness protection; but he agrees to risk his life by visiting the city where the crime he witnessed was committed. Annie's ex-boyfriend, Gil ( Michael Rosenbaum ), finds out that Charlie was actually a getaway driver and contacts Alex Dimitri ( Bradley Cooper ), the bank robber Charlie betrayed. With Alex and Gil on his trail, Charlie rushes to evade his pursuers and get Annie to her interview -- even if it means telling her the whole truth about his past.

Is It Any Good?

Many off-screen couples fail to generate any heat on camera, but there's a genuine chemistry between real-life twosome Shepard and Bell that makes the romantic parts of the film work. The opening scene in bed seems improvisational and authentic, as if it's exactly the kind of conversation the actors would have while cuddling in the morning. As writer and co-director, Shepard clearly has an eye for how to make his beloved shine; even when other aspects of the movie falter a bit, Bell is always charming and adorable as the goody-two-shoes half of the relationship.

As for the action-comedy half of HIT & RUN, it's like an old-school car-chase caper, complete with a likeable supporting cast (Cooper looks hilarious as a dreadlocked surfer-criminal, and Tom Arnold is surprisingly winning as a bumbling U.S. Marshal assigned to protect Charlie) and several pulse-quickening chase sequences. What's surprising is that despite the occasional raunch and violence, the movie is really about the intimacy and honesty required in a long-term romance. The rape and race jokes will be a dealbreaker for some, but if you're not easily offended, this could be a guilty pleasure pick.

Talk to Your Kids About ...

Families can talk about Hit & Run 's blend of romance and action. What resonated with you more -- the romantic comedy between Annie and Charlie, or the action comedy with the car chases and criminal involvement?

Why do you think the filmmakers chose to include full-frontal nudity here? Why do so many R-rated comedies have nonsexual nudity? Would they be better without it?

Are the characters' comments about date rape and prison rape meant to be comical? If so, is that OK? What about Charlie's discussion of different kinds of men and their stereotypes? Is that funny or offensive? Why?

Movie Details

In theaters : August 22, 2012
On DVD or streaming : January 8, 2013
Cast : Bradley Cooper , Dax Shepard , Kristen Bell
Directors : David Palmer , Dax Shepard
Inclusion Information : Female actors
Studio : Open Road Films
Genre : Action/Adventure
Topics : Cars and Trucks
Run time : 100 minutes
MPAA rating : R
MPAA explanation : pervasive language including sexual references, graphic nudity, some violence and drug content
Last updated : May 17, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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What if ‘Fauda’ Moved to New York?

Avi Issacharoff and Lior Raz, who created that Israeli hit, are back with “Hit & Run,” a new geopolitical thriller that swoops from Tel Aviv to the back alleys of New York City.

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By Debra Kamin

One afternoon in 2015, shortly after their gripping terrorism drama “Fauda” debuted in Israel, Avi Issacharoff and Lior Raz met for lunch in Tel Aviv.

They were chatting about a recent hit-and-run accident in the news. Then they began to banter: What if the accident wasn’t an accident, but part of a deeper conspiracy? What if family secrets, and even international intrigue, had been at play?

By the time they called for the check, the idea for “ Hit & Run ,” a new Netflix thriller premiering globally on Friday, had been born. But they didn’t know that this sophomore show would be the successor to a phenomenon.

“Fauda,” which dove into the gritty, morally murky world of an elite military unit, was picked up by Netflix in 2016 and went on to become a bona fide international hit. In Israel, it was groundbreaking for offering a more nuanced depiction of the Palestinians targeted by its team of undercover operatives, led by Raz’s character, Doron Kavillio. (Though some Palestinian writers have criticized these portrayals and the show, in general.)

Globally, much of its success has been attributed to its sense of realism. Raz and Issacharoff both served in the special forces during their mandatory service in the Israeli military, and much of the drama that makes “Fauda” so riveting is based on events they had experienced.

“Hit & Run,” which moves much of the action to New York City, required more invention. But the themes of loyalty, deception and the ambiguous allegiances of a double agent are once again at play. This time around, Raz and Issacharoff have applied the same creative formula, but adapted it for a global audience.

“Avi and I get inspired from things that happen in the world,” said Raz, who stars as Segev Azulai, a man whose comfortable Tel Aviv life implodes when his American wife is killed in a mysterious hit and run. “This is a show about trust — trust between a husband and wife, and also trust between countries.”

A tense whodunit, the nine-episode series swoops from Tel Aviv to the back alleys of New York, with dialogue primarily in English — a first for Raz. He and Issacharoff created “Hit & Run” with the writer-producers Dawn Prestwich and Nicole Yorkin, who most recently partnered on “The Killing.” The cast includes Sanaa Lathan (“The Affair”), Gregg Henry (“Scandal”), Gal Toren (“Losing Alice”) and Moran Rosenblatt (“Fauda”).

For the millions of viewers who hungrily binged three seasons of “Fauda” on Netflix, the parallels between Raz’s characters on the two series will be striking. Again, we begin with Raz ensconced in a quiet, happy family life until, in the opening episode, he is dragged into bloodshed and violence, pulled from his idyll by lingering retributions of an inescapable past.

“Lior and I know that there is some kind of mechanism, an unseen button, where when you push it, someone else comes out of you,” Issacharoff said. “And this is our Segev.”

And again, Raz has infused the show with emotional artifacts from his past. In “Fauda,” he leaned on his experiences with post-traumatic stress disorder to bring Doron to life. In “Hit & Run,” even the names of his characters, including that of Segev’s murdered wife, are loaded with meaning.

Segev spends the series trapped in grief over the loss of Danielle Azulai (Kaelen Ohm), an American dancer whose back story grows murkier in every episode. Raz — who lost a serious girlfriend named Iris Azulai in a Palestinian terror attack when he was 19 — plunged headfirst into his own painful memories to inhabit the story.

“I didn’t talk about Iris for a long time, until Avi and I started to write,” Raz said. “It started with ‘Fauda’ and now, with ‘Hit & Run,’ it’s gone deeper.”

Debuting it on a global stage, rather than from the insular world of Israeli television, put a sense of pressure on the duo’s second act, Issacharoff said. But most of it came from within.

“Everyone had huge expectations on us following ‘Fauda,’” he said. “We knew that we couldn’t come back with a product that was less than excellent.”

They again wrote what they know, drawing on their expertise in spycraft and counterintelligence. But this time around, they zoomed beyond Israel and the Palestinian Territories to crack open global geopolitical secrets.

As Segev barrels through New York, leaving a trail of bloodshed in his search for the truth behind his wife’s death, “Hit & Run” explores themes and questions about citizenship and loyalty, and the dark corners of democratic alliances. Issacharoff, a veteran Israeli journalist whose beat is Arab affairs, said that like “Fauda,” the new series includes twists and subplots that were taken from actual events.

“There are some very sensitive diplomatic and political issues that usually no one talks about, but they are there,” he said.

While Raz is again playing a retired warrior lured back into action — this time a former mercenary rather than a former military officer — there are tonal differences. Segev is softer and older, and he is driven by a desire not for revenge, but to prevent further harm from coming to his family.

“This is closer to who Lior really is,” Prestwich said. “We loved ‘Fauda,’ but we also knew that people like us might not come to an action show if they didn’t feel like there was something else there, and a different world to explore.”

Prestwich and Yorkin served as guides for Raz and Issacharoff as the two men navigated the professional and cultural differences of Hollywood television. Yorkin said she and Prestwich also brought a broader emotional palette to the action-heavy story.

“This is a story that is ultimately about love, and maybe even redemption,” Yorkin said. “We thought it would appeal to a much broader audience.”

In the writers’ room, Prestwich and Yorkin also made a key suggestion: The character of Naomi Hicks, a scoop-hungry Jewish journalist who becomes Segev’s anchor in New York, should be played by a Black woman. Yorkin went a step further, connecting with an organization of Black Jews through her synagogue in Los Angeles, and the team filled in Naomi’s back story as a professional woman who has been a double outsider her entire life.

“Part of her motivation is she is really trying to get the accolades that we all strive for, and that don’t necessarily come to people of color,” said Lathan, who plays Naomi. “It was really fascinating that she is a Black Jew, which is a reality for many people in the world that we don’t see much onscreen.”

The director Mike Barker, who set the visual tone in the pilot, utilized a distinctive color palette to emphasize the two worlds that Segev inhabits: a colorful, nature-rich one in Tel Aviv, and a stark, almost sepia-toned darkness in New York.

“I eliminated the sky, and I borrowed quite heavily from movies from the 1970s, using vintage lenses,” he said of his shoots in New York. When production moved to Tel Aviv, he was struck by how colorful and bright the city was, and shifted gears. “I was thinking of plastic orange beach chairs and blue sunshine, but when I got there, I began to understand how green it was, so we changed the palette,” he said.

Barker added that he was impressed by how fully Raz was willing to pour himself into the role. “There was nothing easy for him in this show,” Barker said. “You’ve got to remember that ‘Fauda’ is all in Hebrew, and this one is Hebrew and English. So he had a huge challenge.”

To reach Segev’s emotional abyss, Barker encouraged Raz, a father of four, to tap into his deep sense of family. “There’s a wall up on his ‘Fauda’ character, which he completely smashes down with a sledgehammer on this show,” Barker said.

For Raz, who has been vocal about working through his own military trauma in “Fauda,” filming “Hit & Run” brought yet another chance to process his past demons.

“This guy is grieving for the whole show. To hold that as an actor for a year of shooting wasn’t easy, but it was a healing process for me about my own loss,” he said. “Both as Segev and Doron, it’s actually me — it’s Lior — that you see in different situations.”

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Movie Review: “Hit and Run”

That’s the tradition “Hit and Run” fits into. Hollywood gearhead Dax Shepard, of “Baby Mama” and TV’s “Parenthood” rounded up his fiance and “When in Rome” co-star, Kristen Bell, and a bunch of their friends, piled into a collection of cars — classic and new — and tore up some California backroads in a movie about, well, tearing up the backrooads between remote, rural California and Los Angeles.

Shepard is “Charlie Bronson.” No, that’s not his real name. He’s in the witness protection program, far from LA. One thing that is real is Charlie’s love for community college “conflict resolution” teacher Annie (Bell).

“If you want, I’ll spend every moment with you for the rest of my life,” he coos to her, in bed.

That is tested when Annie has a shot at a job with a college in Los Angeles. “Charlie” can let her go and stay out of the city where his life is in danger. Or he can risk it all for love.

His accident-prone witness protection marshal (Tom Arnold) is against. Annie’s ex (Michael Rosenbaum) is hel bent on stopping them.

And waiting in LA is the psychopathic killer (Bradley Cooper, in hilarious dreadlocks) just waiting for this guy not-really-named-Charles-Bronson to make an appearance so they can settle old scores.

Charlie figures Annie’s worth the risk. He pulls his entirely-too-distinctive hot rod Lincoln out of mothballs and dashes south, pursued by the hapless Randy (Arnold) in his mini-van and the lunatic Gil (Rosenbaum) in his Pontiac Solstice.

It’s a movie of random, comical cameos (Kristen Chenoweth, David Koechner) and raunchy riffs on senior citizen “swinger” clubs, prison sex and curing oneself of casual homophobic slurs. Annie tries to anger-manage everybody, to no avail. Charlie tries to outrun everybody, with no better result.

It doesn’t really hold together and stand up to much scrutiny. But the car stuff is fun, some bits are laugh-out-loud funny and Bell and Shepard make an adorable couple. When you see that yes, that’s really them in the cars Shepard is doing his own stunts in, that adds to the movie’s retro sense of automotive anarchy.

Film production insurance? What’s that?

“Hit and Run” only aims to be a B-movie, and it’s pace is sluggish in between the chases. You can criticize it for a lack of ambition, lack of budget to do a really EPIC chase and for wanting to call-something the F-for-gay word, and apologize for it, too. But you have to hand the wheel off to Shepard & Co. They’re onto something the cinema has missed since the days when the gears were grinding in your local grindhouse.

MPAA Rating:R for pervasive language including sexual references, graphic nudity, some violence and drug content

Cast: Dax Shepard, Kristen Bell, Bradley Cooper, Tom Arnold, Kristin Chenoweth

Credits: Directed by David Plamer and Dax Shepard, written by Dax Shepard. An Open Road release.

Running time: 1:40

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Movie Review: ‘Hit and Run’

Dax Shepard and Kristen Bell in Hit and Run

Many of the younger movie-going set may not remember Burt Reynolds was box office king from 1978 to 1982. How in the hell does that relate to a movie review for Hit & Run ? It’s almost a matter of cinematic DNA really, as the essence of the film is like a throwback to the Smokey and the Bandit franchise. That same sense of fun, comedy, and ability to develop extremely likable characters shines through the screenplay written by Dax Shepard , who also stars in the movie and worked behind the scenes as co-director and co-editor.

The plot is simple enough: Shepard plays a former getaway driver now in witness protection who’s trying to balance the task of getting his girlfriend ( Kristen Bell ) to a job interview while also evading previous criminal cohorts out for revenge from the job that landed him in the not so safe care of a US Marshal (Tom Arnold). What makes the whole experience so enjoyable is the cast.

From the excellent chemistry of Shepard and Bell (showing real-life relationships can translate on-screen) to the hilarious efforts of Arnold, Bradley Cooper, Michael Rosenbaum, Jess Rowland, Beau Bridges, and a few uncredited folks, I don’t want to spoil the surprise for, the movie oscillates fluidly between laugh out loud jokes to heartfelt and endearing moments. There’s not one weak link in the chain, and all that was missing was a gag reel to play at the end of the credits (though stick around as they begin to roll for a bonus scene).

The car chases are handled nicely, and although the movie comes a bit out of nowhere, with very little in the way of marketing to ensure it delivers a super strong opening weekend, Hit & Run is one of the most fun movies of 2012. Audiences who can buy themselves tickets for R-rated movies (and remember to leave their kids at home with a babysitter because that’s the responsible thing to do) will be delighted to enjoy a movie that doesn’t try to be more than it is and understands the very definition of the word ‘entertainment.’

Trying to go on and on about it would only end up spoiling a joke or sounding like more plot synopsis regurgitation. All you need to know is that it’s a good time and one of the few films going worth the price of admission.

Hit and Run hits theaters on August 22, 2012 and is rated R for pervasive language including sexual references, graphic nudity, some violence and drug content.

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Netflix has high hopes for ‘hit & run,’ which explains that cliffhanger ending.

Showrunners Dawn Prestwich and Nicole Yorkin talk to The Hollywood Reporter about teaming with 'Fauda' duo Avi Issacharoff and Lior Raz (who stars as Segev) for their big-budget thriller — and their thoughts on revisiting 'The Killing.'

By Jackie Strause

Jackie Strause

Managing Editor, East Coast

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HIT & RUN LIOR RAZ as SEGEV AZULAI in episode 103 of HIT & RUN

[This story contains mild spoilers to Netflix ‘s Hit & Run .]

Hit & Run almost didn’t have its hit and run .

Netflix’s latest bingeable mystery follows Fauda star Lior Raz as his starring character, Segev, investigates the hit-and-run death of his wife, Danielle (played by Kaelen Ohm). The scene, which takes place in Israel, was intended to be filmed in early 2020, but a rainy day made the stunt-heavy sequence too dangerous to shoot. Shortly after, filming came to a halt due to the global pandemic.

“We were yanked out of Israel before we’d finished the show,” recalls co-showrunner Dawn Prestwich of what would become a three-year production. “We spent however many months, eight or so, editing together what we had and sort of praying and hoping that we would get back to Israel to finish the show because we had a lot that we had to do.”

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Hit and Run Reviews

...slowly-but-surely squanders its admittedly intriguing premise...

Full Review | Original Score: 1.5/4 | Jun 16, 2009

Hour 1: Fred Meyer hit and run, Biden challenges Trump, guest Bob Ferguson (from Graham)

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Movie Review – Hit Man (2023)

May 14, 2024 by Matt Rodgers

Hit Man , 2023

Directed by Richard Linklater Starring Glen Powell, Adria Arjona, Austin Amelio, Retta, Evan Holtzman, Sanjay Rao, Gralen Bryant Banks, Molly Bernard and Mike Markoff

SYNOPSIS :

Strait-laced professor, Gary Johnson (Glen Powell), moonlights as phony hit man for the New Orleans Police Department. He excels at entrapping hapless victims, that is until he is drawn into morally dubious territory when he finds himself attracted to one of those potential criminals, a beautiful young woman named Madison (Adria Arjona).

Writer-director Richard Linklater aims to join an illustrious cabal of assassin themed comedies, that includes Grosse Point Blank and In Bruges , by targeting the funny bone against a backdrop of death and deception in his kinda-based-on-a-true-story tale, Hit Man .

Taking a similar approach to Noah Hawley’s Fargo television series, Linklater drops us into a very ordinary looking world in order to accentuate the extraordinary truth of teacher-come-undercover investigator Gary Johnson (a name that elicits one of the film’s biggest laughs, and there are plenty of them). In fact, the entire film feels very Coen Brothers, in all the best ways, by taking a run-of-the-mill character and putting a life changing decision before them, one which goes against all of their better instincts, and which starts a chain of events that spirals gloriously out of control.

The high hit-rate tone of the film is set from the off. Remember the team from the tactical van in True Lies who would bicker and squabble as Arnold Schwarzenegger would take down the bad guys? When he isn’t teaching, Gary (Glen Powell) is the electricals expert in a low-rent version of that. Their mission being to set-up sting operations in order to prevent the residents of New Orleans hiring hitmen to solve their issues. When Gary is reluctantly forced to step-up to the front line and pose as an assassin named Ron, he gets to act out the Jungian psychology that makes up the contents of his classroom blackboard, a job made infinitely more difficult when Madison (Adria Arjona) shows up with a brown envelope.

It’s here that a film which has already been sprinkled with its fair share of smarts and charm, largely thanks to Glen Powell’s chameleonic leading man, sparks into an inferno of sharp humour, delicious twists and the kind of sexiness not seen since Out of Sight .

The script, adapted by Powell and Linklater from Skip Hollandsworth’s Texas Monthly article, is peppered with the kind of memorable dialogue you’d expect from a filmmaker with School of Rock and Dazed and Confused on his resume. Linklater is always good Linklater. However, as good as it is, Hit Man wouldn’t land as much as it does without the performances of the ensemble, who ensure that the off-kilter quirkiness evolves into something uproariously funny and rewarding come the triumphant final flourish. It’s a shame that this is arriving on a streaming service, because Hit Man has moments that play like gangbusters with a large crowd.

Powell is ridiculously good. Managing to balance more broad character changes than a terrible Michael Myers movie, while also creating likeable personas for both his id and ego identities.

Adria Arjona is his equal, elevating what could have manifested as a stock neo-noir femme-fatale archetype, or borderline male wish-fulfillment, into a smart, layered, scene-stealing performance. Together their chemistry is reel-burning stuff.

Special mention must go to Austin Amelio’s shit-stirring cop. The Walking Dead actor is memorably shifty as the situation’s third-wheel, and he’s consistently at the heart of some of the film’s biggest belly laughs.

The best film of its kind since The Nice Guys , Linklater’s Hit Man is smart without being smug, sparking with an electricity that hops between its superb ensemble, and is arguably funnier than almost every comedy released in 2023 combined.

Flickering Myth Rating – Film ★ ★ ★ ★/ Movie ★ ★ ★ ★

Matt Rodgers – Follow me on Twitter

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‘Hit Man’: Everything To Know About Glen Powell’s New Dark Comedy Movie On Netflix

You never really know what you’re going to get from a Richard Linklater movie. It could be about a serendipitous romance, fun rock band shenanigans , or a gut-wrenching portrait of lost childhood innocence . Or it could be a stoner comedy. But Linklater’s latest film will give fans something they’ve never gotten before: a close look at Glen Powell’s show-stopping teeth .

Powell is the leading man in Linklater’s upcoming action comedy Hit Man . The movie was screened at the 2023 Toronto International Film Festival, where Netflix quickly snatched it up for a modest $20 million . Hopefully that should cover Powell’s dentist bill for a year or two.

Here’s everything to know about the upcoming Netflix release.

The film stars Powell as Gary Johnson, a philosophy professor with a cute cat ( on trend ) who moonlights as a police surveillance tech. On a short-staffed night, Johnson ends up covering for and impersonating an undercover hitman, and after he realizes he’s actually pretty good at this “hitman” gig, he begins to lean into the role, as every philosopher would do.

Hit Man is loosely based on Skip Hollandsworth’s 2001 Texas Monthly article of the same name in which the real life Gary Johnson worked undercover as a hitman in Houston.

While the story is inspired by Johnson, Linklater told Netflix that much of the plot is a fictional, exaggerated version of the story. The director said, “The real Gary did slight disguises, but not to the extent that we see in the film. I was like, ‘Should we really do a Russian accent?’ But Glen just pushed all of that to the max, and I love how it came out.”

Here is the official synopsis:

Inspired by the unbelievable true story, a strait-laced professor (Glen Powell) uncovers his hidden talent as a fake hit man in undercover police stings. He meets his match in a client (Adria Arjona) who steals his heart and ignites a powder keg of deception, delight, and mixed-up identities.

Powell not only stars in the movie, but he also co-wrote it with longtime collaborator Linklater. The director told Netflix, “I always bring the script to the actors and make revisions during the rehearsal process, but with this one, we wrote it during the pandemic and had plenty of time. We were talking almost every day, and at one point, I said, ‘Let’s save a step and just write this thing together.’”

The movie also stars Andor ’s Adria Arjona, Parks and Recreation ’s Retta, and The Walking Dead’ s Austin Amelio. And a cat.

Release Date

The movie will hit Netflix on June 7, but if you are looking to see Glen Powell’s shiny white teeth on a larger scale, Hit Man will be in select theaters on May 24, just in time for Memorial Day. The last time Powell starred in a Memorial Day weekend feature, it worked out pretty well .

Here is the official trailer:

‘Run!' Review: An Uninspired Tarantino Homage That Lacks an Identity of Its Own

I ’m a big fan of Quentin Tarantino. While I don't always agree with his hot takes , I appreciate his visual style and the way the director consistently riffs on the exploitation output of years past. The trailer for Run! gives major Kill Bill vibes, which made me curious to see what writer/directors Bill Brennenstuhl and Paul Stenerson had in store. Though there are moments where the film almost seems like it's going to work, the entire ordeal is overshadowed by a style-over-substance approach and a screenplay in need of an overhaul.

In Run! , a husband (Jeremy Miller) and wife (Alena von Stroheim) return to a small desert town to renew their wedding vows. After the ceremony, the lovers are abducted by an antagonistic type who puts them through a series of trials and tribulations that culminate in a lackluster conclusion guaranteed to leave a bad taste in your mouth.

Similar to Kill Bill , the wedding sequence here sets up the central conflict and informs the direction the rest of the film will take. This time it's the groom that's settling a score. But the influence is nonetheless obvious. The groom is even decked out in yellow and black from head to toe, much like The Bride in Kill Bill . The similarities continue when the groom, known only as ‘Runner,' wakes up buried in the desert. Tarantino was paying tribute to the unnamed hero trope popularized by exploitation cinema when he introduced Beatrix Kiddo as ‘The Bride'. But Stenerson and Brennenstuhl are paying tribute to Tarantino. So, it's like an homage to an homage. At that point, the reference feels convoluted.

Also Read: ‘Nightwatch: Demons Are Forever' Review: Unnecessary And Predictable

Unlike Tarantino's homages, the tributes here are unsubtle and uninspired. Tarantino brings a level of genius to his work that builds upon the property to which he's paying tribute, and then carves out his own path. In the process, the director often elevates the material by which he is inspired. In the case of Run! , there is no such distinction.

Presumably also intended as an homage to Tarantino, the film makes use of a nonlinear timeline. Tarantino certainly wasn't the first to do so, but he is well-known for that approach, and the filmmakers behind Run! seem keen to use his cinematic output as a blueprint. The problem is that everything makes sense at the end of a Tarantino picture and the fragmented timeline serves a greater purpose. Here, the nonlinear approach doesn't do much to enhance the film. It protects what some might consider a twist of sorts. But the details that eventually come into focus aren't all that revelatory.

Another major issue with Run! is the fact that the villain doesn't have a clear motive. Worse yet, the antagonist isn't stoic about their lack of rhyme or reason. Learning why the bad guy has set this series of events in motion is anticlimactic. The buildup seems to suggest there's a grand design to what's happening, but there really isn't. I felt cheated when all was said and done. There's a hollowness to the proceedings that I hoped would be offset by ‘the why’ behind it all. But there really is no why.

If the antagonist had been stoic and silent, the relative absence of motivation might have worked more effectively. But we are forced to sit through a grandiose speech about what drives this individual, only to learn that next to nothing drives them. The titular characters in The Strangers don't have an elaborate motive for their crimes. But they don't force the viewer to listen to endless ranting, dispensing with any mystique in the process. An antagonist without a clear modus operandi works far more effectively when they simply keep their mouth shut. A villain who gives a long-winded speech while saying nothing at all is doing little more than wasting the viewer's time.

Further complicating matters, the script is rough. The dialogue is often very unnatural. Though the filmmakers shoot for a moody and atmospheric vibe, stilted exchanges serve to kill the mood almost immediately. Additionally, narrative developments frequently come across as unnatural and as if they are transpiring to move the story along, not because they make any real sense.

The acting is also a bit challenging. The bride and groom never reach the point of being convincing as a couple madly in love, but they at least manage to not be distracting. I can't say the same of the villain, who I will leave uncredited to avoid spoiling anything. But suffice to say that the bad guy doesn't do the film any favors.

All things considered, I can't recommend Run! There were times when I almost found myself enjoying the action sequences. But the flaws are so persistent that any enjoyment was short-lived. If you are curious to check the flick out for yourself, you can scope Run! on Digital and On Demand now.

‘Run!' Review: An Uninspired Tarantino Homage That Lacks an Identity of Its Own

COMMENTS

Hit and Run movie review & film summary (2012)
L.A. is, alas, the last place Charlie wants to go, and the very place where he most needs protection. Annie's boss ( Kristin Chenoweth) orders her to go for the interview, because she's too good for her current job. Charlie's love overcomes his fears, and he's determined to drive her to L.A. himself, no matter the risk.
Hit & Run
Rated: 2/5 Oct 11, 2012 Full Review Jason Best Movie Talk Hit & Run is very much hit and miss. The plot careers all over the place and a lot of the jokes definitely sputter, but with the laidback ...
Hit and Run (2012 film)
Hit and Run is a 2012 American action comedy film written by Dax Shepard, with David Palmer and Shepard co-directing (their second collaboration after Brother's Justice in 2010). The film stars Shepard and Kristen Bell, with Kristin Chenoweth, Tom Arnold, and Bradley Cooper, and follows a man who has been placed in Federal Witness Protection going on the run with his girlfriend to escape a ...
Hit & Run
HIT AND RUN is a film that turns out to be more than the sum of its parts, even if it ends up feeling a bit generic and stupid. Full Review | Feb 13, 2020 Brian D. Johnson Maclean's Magazine
Hit and Run (2012)
Hit and Run: Directed by David Palmer, Dax Shepard. With Kristen Bell, Dax Shepard, Tom Arnold, Kristin Chenoweth. Former getaway driver Charles Bronson jeopardizes his Witness Protection Plan identity in order to help his girlfriend get to Los Angeles. The feds and Charles' former gang chase them on the road.
Hit & Run: Season 1
Aug 6, 2021 Full Review Reuben Baron Jewish Boston The Israeli American Netflix series Hit & Run is a compelling, binge-worthy watch, despite sometimes getting a little ridiculous.
Hit and Run
Hit and Run is the story of Charlie Bronson, a nice guy with a questionable past who risks everything when he busts out of the witness protection program to deliver his fiancé to Los Angeles to seize a once-in-a-lifetime opportunity. Their road trip grows awkwardly complicated, when they are chased by the feds … and increasingly dangerous, when Charlie's former pals, a band of gangsters ...
Movie Review: Hit and Run's Real-Life Romance Adds to This Amiable
Hit and Run is one of those movies you want to love as it ambles along, even as you calculate all the bothersome little things about it.Dax Shepard's second directorial feature (he shares credit ...
Review: 'Hit & Run' a contender in summer's guilty pleasure race
By Betsy Sharkey, Los Angeles Times Film Critic. Aug. 21, 2012 12 AM PT. "Hit & Run," the low-budget, lowbrow car chase comedy starring Dax Shepard, Kristen Bell, Bradley Cooper and Tom Arnold ...
'Hit & Run' Review
Hit & Run was written and co-directed by Shepard; the other half of that directorial team is David Palmer, Shepard's friend and collaborator (the two made another indie comedy called Brother's Justice).Much of the cast is also made up of names the lead actors have worked with before, and/or call friend; in that sense, Hit & Run has a pretty tight-knit atmosphere, with plenty of chemistry ...
Hit & Run
Hit & Run Comic actor Dax Shepard isn't the kind of guy who comes to mind when trying to cast a Hollywood action movie. After putting himself in the driver's seat with "Hit & Run," however, the ...
'Hit And Run' Netflix Review: Stream It Or Skip It?
Stream It Or Skip It: 'Hit & Run' On Netflix, Where A Man Goes From Tel Aviv To New York To Investigate His Wife's Death. Lior Raz and Avi Issacharoff are no strangers to Netflix; they ...
Hit & Run Movie Review
Hit And Run (2012) Review by Shivom Oza - Caught! 1.5/5 Stars 'Hit And Run' is a film about a young man, Yul Perrkins/Charles Bronson running away from his murky past, who is trying to start a new life with his girlfriend Annie Bean. Currently in a witness protection program, there are a few aspects of his past that is girlfriend is ...
In 'Hit & Run,' the 'Fauda' Creators Move the Action to New York
Amit Elkayam for The New York Times. One afternoon in 2015, shortly after their gripping terrorism drama "Fauda" debuted in Israel, Avi Issacharoff and Lior Raz met for lunch in Tel Aviv. They ...
Movie Review: "Hit and Run"
That's the tradition "Hit and Run" fits into. Hollywood gearhead Dax Shepard, of "Baby Mama" and TV's "Parenthood" rounded up his fiance and "When in Rome" co-star, Kristen Bell, and a bunch of their friends, piled into a collection of cars — classic and new — and tore up some California backroads in a movie about, well ...
Hit and Run Movie Review (2012)
Review of the R-rated comedy movie Hit and Run starring Dax Shepard, Kristen Bell, Bradley Cooper, Tom Arnold, and Michael Rosenbaum.
Netflix's 'Hit & Run': TV Review
August 5, 2021 12:31pm. Lior Raz JoJo Whilden/Netflix. If the new Netflix drama Hit & Run were a Disneyland ride, it would be the Mad Tea Party. It offers a lot of narrative spinning and whiplash ...
Netflix's Hit and Run Review: Should've Been A Movie!
Hit & Run or Hit and Run, an Israeli crime thriller, is now out on Netflix. Fauda creators Lior Raz and Avi Issacharoff, along with Dawn Prestwich and Nicole Yorkin, made the show happen. The 9-episode series stars Lior Raz, Sanaa Lathan, Kaelen Ohm, Moran Rosenblatt, Gregg Henry, and Gal Toren. It's a bilingual English and Hebrew thriller ...
'Hit & Run': Netflix Series Cliffhanger, Explained
Netflix's latest bingeable mystery follows Fauda star Lior Raz as his starring character, Segev, investigates the hit-and-run death of his wife, Danielle (played by Kaelen Ohm). The scene, which ...
Hit and Run
Hit and Run Reviews. ...slowly-but-surely squanders its admittedly intriguing premise... Full Review | Original Score: 1.5/4 | Jun 16, 2009. Rotten Tomatoes, home of the Tomatometer, is the most ...
Hit & Run (TV Series 2021)
Hit & Run: Created by Avi Issacharoff, Dawn Prestwich, Lior Raz, Nicole Yorkin. With Lior Raz, Kaelen Ohm, Moran Rosenblatt, Gregg Henry. A happily married man's life is turned upside down when his wife is killed in a mysterious hit and run accident in Tel Aviv.
Watch Hit & Run
A man searching for the truth behind his wife's death becomes caught up in a dangerous web of secrets and intrigue stretching from New York to Tel Aviv. Watch trailers & learn more.
Hour 1: Fred Meyer hit and run, Biden challenges Trump, guest ...
IMDb is the world's most popular and authoritative source for movie, TV and celebrity content. Find ratings and reviews for the newest movie and TV shows. Get personalized recommendations, and learn where to watch across hundreds of streaming providers.
Hit Man (2023)
Movie Review - Hit Man (2023) May 14, 2024 by Matt Rodgers. Hit Man, 2023. SYNOPSIS : Strait-laced professor, Gary Johnson (Glen Powell), moonlights as phony hit man for the New Orleans Police ...
'Hit Man' With Glen Powell: Release Date, Trailer, Info
Release Date. The movie will hit Netflix on June 7, but if you are looking to see Glen Powell's shiny white teeth on a larger scale, Hit Man will be in select theaters on May 24, just in time ...
'Run!' Review: An Uninspired Tarantino Homage That Lacks an ...
Run! is the fact that the villain doesn't have a clear motive. Worse yet, the antagonist isn't stoic about their lack of rhyme or reason. Learning why the bad guy has set this series of events in ...