In ‘How to Make a Killing,’ a family inheritance inspires Glen Powell to do dirty deeds

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“How to Make a Killing” starts with a really captivating opening that keeps viewers engaged, even when the plot gets a bit thin. This is especially valuable for a comedic thriller where characters are willing to do anything for money.

Becket Redfellow, who is scheduled to be executed in just four hours, is surprisingly relaxed on death row. When a priest (Sean C. Michael) arrives for his final confession, he finds Becket lying down with an eye mask on, complaining about getting the wrong flavor of cheesecake with his last meal. “Just get it over with,” Becket jokes.

This story unfolds through memories, starting with Becket’s mother, who lost her inheritance after becoming pregnant out of wedlock. Becket believes it’s ultimately a heartbreaking story, a true tragedy.

Although the story follows a well-worn path, the introduction is energized by Powell’s cool and casual demeanor. A small movement – a bounce on his bed when the priest, Becket, turns to face him in shock – immediately grabs your attention, and Powell holds it. He hasn’t quite found the ideal role yet, but his self-assurance leads many in the industry to believe he’s destined to be a major star, perhaps a new Tom Cruise or Cary Grant, or at the very least, a charismatic and lively performer like Bugs Bunny.

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John Patton Ford’s darkly funny new film is a modern take on the classic 1949 British comedy “Kind Hearts and Coronets.” The original film followed a man who systematically murdered the family members standing between him and a dukedom. In this update, the protagonist isn’t after a title, but immense wealth – things like cash, private islands, and luxury vehicles. Fittingly, his first name even sounds like a surname, hinting at his aspirations to join the American elite.

The story’s elaborate revenge plot involves a large number of exaggerated, upper-class characters who become targets. The original story featured a wealthy feminist distributing pamphlets by hot air balloon, but this version updates that idea with Becket’s privileged cousin (Raff Law) dropping money from a helicopter onto a party, then diving into the pool to literally stuff bills into people’s mouths. It’s a ridiculous scene that feels reminiscent of the over-the-top satire of Terry Southern’s “The Magic Christian,” only perhaps even more outrageous.

The story goes that when Alec Guinness was offered the role of four characters in “Coronets,” he jokingly asked if he could play all eight. Luckily, he did – even portraying a female character! “How to Make a Killing” features delightful cameos, including Zach Woods as a wealthy heir who pretends to be a hipster artist (and photographs homeless people), and Topher Grace as a man who reinvents himself as a megachurch pastor. Grace’s character, sporting bleached blond hair, acts like he’s Jesus and complains, “Don’t hate me just because my dad’s important.”

Okay, so the film tries to say something about power and corruption – there’s a clever visual with the preacher’s office, filled with photos of him shaking hands with both presidents and drug lords, hinting that the world’s really run by the wealthy elite. It’s a good idea, but honestly, the commentary feels a little surface-level. It doesn’t really dig in. However, I did genuinely laugh during a particularly cheeky moment. The main character, Becket, breaks the fourth wall while back in his cell and directly addresses the priest, saying with a knowing smirk, “The last thing the Church wanted was an investigation. I’m sure you know all about that.” It’s a small thing, but it landed for me.

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Similar to the main character in his new film, writer-director Ford had to work his way up to the point where he could bring this screenplay to life. He first gained attention with the 2022 indie film “Emily the Criminal,” featuring Aubrey Plaza as a student struggling with debt. He clearly feels a connection to those who are trying to succeed in a system where opportunities aren’t evenly distributed.

However, the story hasn’t figured out if the people who are being killed in “How to Make a Killing” are actually victims themselves. The wealthy Redfellows are killed off one by one in entertaining but ultimately meaningless scenes—they don’t offer any real satisfaction or humor, just dramatic flair with loud music and sound effects.

I expected the movie to reveal how its characters were feeling when it killed off a particularly unremarkable villain – a pathetic, drunken banker played by Bill Camp. However, it didn’t, and this lack of emotional clarity ultimately hurt the performance of the actor playing Powell. He wasn’t given much to react to. (Was he feeling guilt, anger, or even satisfaction?) Powell is such a polished actor that even his normal smile feels insincere. It’s almost as if he struggles to appear genuine, except in one scene where he truly tries, and the fear and desperation in his eyes are incredibly powerful.

Although the exciting start doesn’t quite live up to its potential, “Killing” offers two surprising twists and is generally an enjoyable ride. The movie feels overly clever at times, and it seems to suggest, like many recent films, that criminals often get away with it. As one character points out, everyone involved is aware of the stakes. The protagonist sees the mistakes being made, but struggles to choose the correct path, even though he ultimately does. It seems modern audiences want to both condemn wrongdoing and indulge in it.

The series features a somewhat lighthearted love triangle involving Julia (Margaret Qualley), a wealthy and manipulative woman who has always controlled Becket, and Ruth (Jessica Henwick), a kind and down-to-earth teacher. Qualley leans into the stereotypical ‘spoiled rich girl’ role, often using suggestive body language, while Henwick is given a more straightforward, if less flashy, part. Despite having less dramatic material, Henwick’s strong performance makes the audience consistently support Ruth.

It’s good to see Ford addressing the issue of economic inequality. However, the film’s most charming scene reveals his potential as a romantic comedy lead: when Becket and Ruth meet by chance in the rain, the sun suddenly appears as they lock eyes and smile. It’s a small, hopeful moment suggesting their relationship might succeed, and surprisingly, it even offers a glimmer of optimism for the future, despite the film’s generally pessimistic view of society.

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2026-02-19 01:32