Glen Powell brings his charming everyman persona to the black comedy genre in “How to Make a Killing”, the latest film from A24. Written and directed by John Patton Ford, the movie draws inspiration from the 1949 British classic “Kind Hearts and Coronets”, originally penned by Robert Hamer and John Dighton.
The film opens with a framing narrative introducing us to Becket Redfellow (Powell), who is currently on death row awaiting execution. Becket’s mother was disowned by her wealthy father, Whitelaw Redfellow (Ed Harris), after she became pregnant out of wedlock. Raised in a blue-collar environment and excluded from privilege, Becket grows up resentful of the family fortune that should have been his.
When his mother passes away, she extracts a promise from him: to reclaim what belongs to their family, no matter how many Redfellows stand in his way. A clause in the family will states that the last surviving Redfellow inherits everything.
As Becket begins eliminating relatives one by one, he reconnects with his childhood friend, Julia Steinway (Margaret Qualley), and finds unexpected romance with Ruth (Jessica Henwick). The central question becomes whether love can overcome greed or whether ambition will consume whatever humanity he has left.
I don’t recall a significant marketing push for this film, but I do remember watching “Kind Hearts and Coronets” back in film school. Powell, meanwhile, is part of a new generation of actors who have worked hard for years and are finally landing leading roles. This is one of those movies best experienced with minimal prior knowledge—not because of a shocking twist, but because the enjoyment lies in the increasingly outrageous measures Becket takes to secure his inheritance.
Powell skillfully humanizes a character engaged in diabolical behavior. It takes real talent to make an audience root for someone committing murder. Whether it’s his disarming smile or his chemistry with Henwick, Powell comes across as a less deranged version of Patrick Bateman. His verbal exchanges with Qualley create a lively battle-of-the-sexes dynamic, while supporting performances from Topher Grace, Zach Woods, and Bill Camp add depth to the dysfunctional family saga.
Ford, who previously impressed audiences with “Emily the Criminal”, continues to explore how ordinary people slip into criminality. He maintains a tight runtime and delivers several sharp twists along the way. My main criticism is that the two detectives investigating Becket feel slightly over-the-top, occasionally disrupting the film’s tonal balance.
Nevertheless, “How to Make a Killing” confirms Powell’s status as a leading man. Black comedy suits him well, and films like this seem to fall comfortably within his range, with the occasional blockbuster.
Final Grade: B+
“HOW TO MAKE A KILLING” will be released in theaters nationwide on February 19th.
