Imagine a movie that promises a darkly hilarious journey into the world of murder and inheritance, only to fall flat on its face. That's the unfortunate fate of 'How to Make a Killing,' a film that aims for black comedy gold but ends up feeling more like a leaden misfire.
Starring Glen Powell as Becket Redfellow, a disgruntled outsider from a wealthy family, the film draws obvious inspiration from the 1949 Ealing classic 'Kind Hearts and Coronets.' In that masterpiece, Alec Guinness famously portrayed eight distinct relatives targeted by a would-be heir. Powell, no stranger to shape-shifting roles after his turn in Richard Linklater's 'Hit Man,' takes on a similar challenge. But while 'Hit Man' struck a delicate balance between humor and tension, 'How to Make a Killing' struggles to find its footing.
Written and directed by John Patton Ford, the film lacks the biting wit and chilling darkness that define its predecessor. Powell's Becket, unlike Guinness's chameleonic performance, feels curiously one-note. His descent into serial killing, motivated by a desire to reclaim his family's fortune, lacks the necessary spark to engage. And this is the part most people miss: the film's biggest strength might be the promise of more screen time for Ed Harris, who plays Becket's ruthless grandfather, Whitelaw Redfellow.
Narrated by Becket from a jail cell hours before his execution, the film attempts a glib tone. But Powell's signature charm feels forced here, failing to elevate the lackluster material. Becket's encounters with his wealthy relatives, played by a cast including Topher Grace, Bill Camp, and Raff Law, offer glimpses into the world of the ultra-rich, but these moments feel more like window dressing than insightful commentary.
One bright spot is Zach Woods as Noah Redfellow, a self-proclaimed 'White Basquiat' who injects some much-needed energy. Jessica Henwick also shines as Becket's girlfriend, her warmth highlighting the hollowness of his motivations. Ford, who demonstrated a knack for blending class themes with genre storytelling in 'Emily the Criminal,' seems lost in the glossier world of 'How to Make a Killing.' The film fails to connect its themes of class struggle and familial resentment in a meaningful way.
Adding to its woes, 'How to Make a Killing' arrives on the heels of Park Chan-wook's 'No Other Choice,' a far more successful satire on the lengths people will go to for success. Is it possible that 'How to Make a Killing' simply arrived too late to the party, or is there something inherently flawed in its execution?
'How to Make a Killing,' an A24 release rated R for language and violence, opens in theaters this Friday. Running time: 105 minutes. Two stars out of four. Let us know in the comments: Do you think this film could have been saved with a different approach, or is the concept itself too derivative?
