A Promising Premise Falls Flat: Is 'How to Make a Killing' the Black Comedy We Hoped For?
Glen Powell, known for his charismatic roles, takes on the part of a working-class man determined to murderously reclaim his rightful inheritance in the new film, 'How to Make a Killing.' This narrative clearly draws inspiration from the iconic Ealing black comedy, 'Kind Hearts and Coronets.' In that sublime 1949 masterpiece, Alec Guinness famously portrayed all eight of the relatives Dennis Price's aspiring heir schemes to eliminate, offering a brilliant showcase for Guinness's incredible acting range. Interestingly, Powell himself has already explored a similar theme of deception in assassination comedies, notably in Richard Linklater's 'Hit Man.'
However, 'How to Make a Killing' seems to miss the mark, lacking the delicate tonal balance that made 'Hit Man' so effective, let alone the sheer brilliance of 'Kind Hearts and Coronets.' This film, a disappointingly subdued near-remake, struggles to achieve either the sharp satire or the dark undertones necessary to truly embody its black comedy aspirations.
But here's where it gets controversial: Is it even possible to capture the magic of a classic without feeling like a pale imitation?
Directed and written by John Patton Ford, the film sees Powell not adopting the chameleon-like approach of Alec Guinness. Instead, he embodies a character akin to Dennis Price's role: Becket Redfellow, an ostracized member of an extremely affluent family. The narrative reveals that Becket's mother was disowned by her father, Whitelaw Redfellow (played by Ed Harris), after becoming pregnant at a young age. Perhaps the most intriguing aspect of 'How to Make a Killing' is the implicit promise of further encounters with the formidable patriarch, Ed Harris, a prospect that certainly keeps the audience engaged.
Becket himself serves as the narrator, recounting his story to a priest from the confines of a jail cell, mere hours before his scheduled execution. Yet, Becket displays no apparent remorse for his actions, nor any significant anxiety about his impending fate. Even his disappointment with his final meal's cheesecake elicits a wry, "Kill me now."
And this is the part most people miss: Could a protagonist's nonchalance be the key to a successful dark comedy?
If 'How to Make a Killing' had fully embraced this tone – Powell's signature glibness with a genuine edge – the film might have resonated more effectively. Instead, Becket emerges as a curiously unengaging protagonist, his descent into serial murder unfolding with a rather listless quality.
After losing his job to make way for the shop owner's son, Becket decides to pursue the cousins who are set to inherit the family's substantial fortune. His motivation stems from his mother's advice to strive for "the right kind of life" and a chance encounter with his childhood sweetheart (Margaret Qualley), who playfully suggests he call her after he's eliminated a few rivals. This casual encouragement of violence, even in jest, raises questions about societal attitudes towards ambition and ruthlessness.
The subsequent encounters offer a glimpse into the lives of the ultra-wealthy. The cast includes Topher Grace as a cousin, Bill Camp as an uncle, and Raff Law (son of Jude Law) as another cousin. While 'How to Make a Killing' features several individuals with famous Hollywood lineage (Qualley, daughter of Andie MacDowell), exploring this further could have introduced a compelling meta-narrative.
Among a generally forgettable ensemble, Noah Redfellow, portrayed by the consistently underappreciated Zach Woods as a painter who styles himself as "White Basquiat," stands out. However, the actor who truly elevates 'How to Make a Killing' is Jessica Henwick. She previously made a notable impression in a supporting role in 'Glass Onion: A Knives Out Mystery.' As Becket's grounded girlfriend, her warm presence increasingly makes one question Becket's already tenuous reasons for resorting to murder.
John Patton Ford, the writer and director, previously helmed the acclaimed 2022 thriller 'Emily the Criminal,' starring Aubrey Plaza. That film, which explored the downward spiral of a debt-ridden Los Angeles gig worker drawn into the criminal underworld, demonstrated Ford's talent for weaving contemporary class issues into gritty genre narratives. However, the more polished 'How to Make a Killing' fails to establish these connections.
Furthermore, the timing of this release is unfortunate, as recent months have already offered a sensational satire on the theme of killing for advancement: Park Chan-wook's 'Decision to Leave.' That film featured Lee Byung-hun as a recently unemployed family man who seeks to eliminate his competition for a new job. Unfortunately for 'How to Make a Killing,' it would need to eliminate quite a few other films to climb the ranks of successful black comedies.
'How to Make a Killing,' an A24 release, is rated R by the Motion Picture Association for language and some violence/bloody images. The film runs for 105 minutes. It has received two out of four stars.
What are your thoughts? Does 'How to Make a Killing' succeed in its black comedy ambitions, or does it fall short of its inspirations? Share your opinions below!
