New York, N.Y. — Glen Powell’s star power continues to captivate audiences, leading both “Hit Man” and “Twisters” to unexpected success. However, his latest venture, “How to Make a Killing,” offers a mixed bag, delivering only pieces of the comedy-thriller magic that fans might have anticipated. Set against a backdrop of greed, murder, and familial intrigue, Powell shines as Becket Redfellow, a disowned scion pitted against his own wealthy relatives in a quest for revenge and riches.
The film, which opens in theaters on Feb. 20, reimagines the 1949 classic “Kind Hearts and Coronets,” though it struggles to match the high bar set by the original. Powell portrays Becket, a character whose journey is steeped in both ambition and vengeance after his family turns its back on his mother for having him out of wedlock. As Becket navigates the complexities of his troubled past, his character adopts a darker path fueled by both childhood trauma and a desire for retribution against a family that has neglected him.
Becket’s childhood friend, Julia Steinway, portrayed by Margaret Qualley, re-enters his life when he is an adult, working a dead-end job in Manhattan. Their chemistry is undeniable, and yet the timing isn’t on their side, as Julia is engaged to someone else. This emotional turmoil is compounded by Becket’s recent job loss, further complicating his precarious situation.
Narrated from a death row cell, Becket recounts his misadventures while waiting for execution, suggesting a fate that is both inescapable and grim. Julia’s offhand remark, “call me when you’ve killed them all,” sets the tone for Becket’s rapidly escalating quest. Despite seven family members standing between him and their fortune, he ingeniously decides to target his cousin Taylor first, setting off a chain reaction of darkly comedic events.
Qualley’s portrayal of Julia is striking. She embodies the archetype of a femme fatale, her character casting an alluring yet dangerous shadow over Becket’s decisions. Dressed to kill and brimming with manipulative charm, she serves both as a catalyst for Becket’s actions and a source of temptation. Despite her impactful performance, her role is somewhat limited, leaving audiences wanting more of her captivating presence.
While Powell expertly balances the duality of his character’s charm and ruthlessness, the film sometimes falters in fully exploiting the darker aspects of its plot. This imbalance impacts the momentum and overall tension, especially during key moments of violence that lack the necessary weight. Characters such as Becket’s aunt and uncle, though integral to the story, have minimal screen time that undermines their potential impact.
Despite its narrative shortcomings, “How to Make a Killing” is sleekly directed by John Patton Ford, who excels in maintaining a brisk pace and stylish presentation. The film avoids unnecessary subplots, allowing its core narrative to unfold without distraction. However, its exploration of morality versus immorality sometimes feels superficial, failing to resonate as deeply as intended.
Ultimately, “How to Make a Killing” offers a mix of delightful performances and a humorous yet dark premise, even if it falters in certain areas. Becket’s moral quandaries and the film’s introspections on family and desire create a dynamic narrative that, while not without its flaws, resonates with viewers. With Powell and Qualley’s chemistry contributing to the film’s pulse, it emerges as an ambitious—even if uneven—offering in the genre. The film provides a sharp commentary on ambition and the lengths one might go to achieve legacy, leaving audiences both entertained and contemplative.