How to Make a Killing (directed by John Patton Ford) is hoping to bump off the rest of the box office contenders this week in cinemas. The film promises audiences a dark comedy thriller that somehow has you rooting for a morally questionable killer. Ideally, StudioCanal and Blueprint Pictures have delivered us something closer to a comedic version of American Psycho, rather than a forgettable movie of the month.
How to Make A Killing stars Glen Powell (The Running Man) as Becket Redfellow, a child born out of wedlock, who is disowned at birth by his wealthy family. Becket has spent his life watching from the sidelines as the fortune that should have been his passes through the hands of relatives who refuse to acknowledge him. When an opportunity finally arises to reclaim his birthright, he sets out on a ruthless plan to secure the inheritance he believes he deserves. But with 7 heirs to the $20 billion fortune standing in his way, he soon realises that claiming the riches may require eliminating the competition — one relative at a time.
Before my screening of How to Make a Killing, I had seen very little advertising for the film — which made me slightly nervous. Given how great the plot sounded to me I was sure this couldn’t fail. Thankfully, by the time the credits rolled, those concerns had vanished. I can safely say I thoroughly enjoyed the experience.
Much of the film’s success rests on the shoulders of the lead actor Glen Powell, who is excellent in this role. Powell’s on-screen presence carries an effortless charisma that makes the film’s central premise work. After all, Becket is a man systematically eliminating members of his own family for financial gain, yet Powell’s performance somehow keeps you rooting for him. There’s a playful confidence to his portrayal that blurs the moral lines just enough to keep me on his side.
The narrative itself is packed with unexpected twists. Just when the story appears ready to settle into a predictable rhythm, it swerves in another direction. These turns help the film maintain a genuine sense of unpredictability. Combined with tight pacing, the result is a story that remains engaging across its brisk 105-minute runtime.
Tonally, the film’s dark comedy elements work particularly well. The humour never feels forced; instead, it emerges naturally from the increasingly absurd situations Becket finds himself navigating. While the laughs may not reach hysterical heights, there’s a sharp satirical edge throughout. In fact, the tone often feels like a more accessible — and far less depressing — cousin to Gone Girl. Both films explore morally dubious characters manipulating those around them, but How to Make a Killing approaches the concept with a lighter, more mischievous touch.
Another highlight is the rotating lineup of guest stars portraying members of the sprawling Redfellow dynasty. Special standouts include a hilariously pretentious church speaker played by Topher Grace (BlacKkKlansman) and a self-serious wannabe artist portrayed by Zach Woods (Silicon Valley). Watching recognisable faces pop up as new heirs in the Redfellow family tree becomes part of the film’s ongoing fun.
Not every element lands perfectly, however. Margaret Qualley (The Substance) unfortunately ends up being the film’s weakest link. Her character repeatedly interrupts the story’s momentum, and the scenes built around her tend to break up the otherwise excellent pacing. In a movie that moves this confidently, those slower moments stand out more than they should.
Without spoiling anything, the film’s ending also makes a bold choice with its moral messaging — particularly after spending so long encouraging the audience to root for a killer. The final note may divide viewers, but it’s certainly a conversation starter and will keep you guessing right until the final scene.
In the end, How to Make a Killing succeeds because it’s confident in its tone and unafraid of its dark sense of humour. It’s a slick, well-paced thriller full of twists, solid performances, and just enough moral ambiguity to keep you hooked until the end.
Rating: 8/10
