Plot Summary: Disowned at birth by his obscenely wealthy family, a blue-collar will stop at nothing to reclaim his inheritance, no matter how many relatives stand in his way.

Director: John Patton Ford

Writer: John Patton Ford

Runtime: 1 hour 45 mins

• Glen Powell as Becket Redfellow
• Margaret Qualley as Julia
• Jessica Henwick as Ruth
• Ed Harris Whitelaw Redfellow

Review by: Samuel

What I Liked:

The film is anchored by a stellar performance from Glen Powell. He brings an effortless, almost terrifying charm to the role of Becket, managing to keep the audience firmly on his side even as he commits the unthinkable. His narration, framed as a confession to a priest, provides a rhythmic backbone to the story, and his final monologue wrapped a bow around the film- I thought it was an incredible final thought given what we had witnessed. The writing, despite the occasional pacing hiccup, is frequently brilliant and genuinely hilarious. The film uses a recurring visual gag involving the exact same camera shot at every family member’s funeral (complete with the same geese in the background) that serves as a masterclass in absurdist comedy.

The supporting cast adds a rich layer of complexity that keeps the narrative from becoming a one-man show. Margaret Qualley is electric as Julia, a childhood love interest who pops up with the chaotic energy of a 90s cartoon character, driving Becket further into his obsession. Jessica Henwick also provides a much-needed grounded performance as Ruth, whose romantic involvement with Becket raises the stakes for the audience.

Perhaps the best part of the film to me, however, is its ending. It daringly subverts expectations, refusing to follow the predictable “crime doesn’t pay” moral arc. Instead, it offers a conclusion that is as unexpected as it is satisfying, ensuring that How to Make a Killing will be a film audiences discuss long after the credits roll.

What I Didn’t Like:

While How to Make a Killing is an undeniably sharp ride, it isn’t without its bitter notes. The film’s primary struggle lies in its treatment of the secondary characters, specifically the heirs Becket is tasked with eliminating. Rather than feeling like flesh-and-blood obstacles, many of the targets come across as paper-thin caricatures. Whether it’s the stereotypical Wall Street “bro” or the eccentric artist, these figures lack the narrative depth required for the audience to feel any real weight behind their demise. In several instances, the film fails to provide a compelling reason for the audience to root for their downfall beyond the fact that they are simply “next in line.” One particular heir is dispatched so quickly and with so little backstory that the act feels more like checking a box on a chore list than a pivotal story beat.

Furthermore, the film’s pacing occasionally falters due to a script that feels slightly over-extended. There are moments where scenes seem to be drawn out purely to pad the runtime, with dialogue that circles back on itself rather than driving the plot forward. While the writing is generally strong, these drawn-out segments can make a lean thriller feel more sluggish than it needs to be. This lack of character development for the victims combined with a few sagging scenes prevents the movie from reaching the heights of a truly balanced masterpiece.

Images Courtesy of IMDB