Glen Powell, known for his charm and roles in blockbuster franchises like Top Gun: Maverick and Twisters, has once again shifted gears with the release of How to Make a Killing. Premiering on February 20, this film is promoted as a Glen Powell black comedy, a genre that demands a careful blend of humor and darkness—a balance this film struggles to achieve.
Directed and written by John Patton Ford, the movie is inspired by the 1949 British classic Kind Hearts and Coronets. It follows Becket Redfellow, a disowned son of a wealthy family played by Powell, who embarks on a deadly spree to eliminate relatives standing between him and his inheritance. The film is set primarily around Becket’s conversations on death row, revealing his deeds through flashbacks, and challenges the audience to root for a murderer, counting on Powell’s likability to carry the role.
The Film’s Approach to Comedy and Drama
Despite being marketed as black comedy, the film falls short of delivering sustained humor or compelling darkness. Moments of dramatic seriousness and attempts at wit mingle uneasily but fail to engage the audience fully. While the premise positions Becket as a poor man striking back against a rich, entitled family, the victims are portrayed mostly as obnoxious caricatures rather than deeply flawed or sympathetic figures. This approach dilutes the impact of Becket’s murderous actions, making them seem almost inconsequential.
The flashback narrative, structured around Becket’s dialogues with a priest on death row (Adrian Lukis), offers intermittent humor but lacks the edge needed to embrace the genre’s tone. The victims, many encountered through poisoning schemes, are so lightly drawn that their deaths struggle to provoke either tension or dark amusement. Topher Grace stands out as a notable exception, delivering a colorful performance as a megachurch preacher who flaunts his photo with El Chapo, injecting some energy into otherwise muted scenes.
Cast Highlights Amid Uneven Storytelling
Jessica Henwick’s portrayal of Ruth, the widow of one of Becket’s victims and his fleeting love interest, feels perfunctory and lacks emotional depth, especially since the storyline hints she would not stay with Becket eventually. Conversely, Margaret Qualley shines as a childhood friend who reenters Becket’s life to stir up trouble. Her role as a sly femme fatale brings much-needed vitality, injecting subtle humor while sharply contrasting with Powell’s more straight-faced performance, which often seems hesitant.
Bill Camp delivers a strong supporting performance as Becket’s only decent relative, who shows genuine kindness by mentoring him. His scenes evoke warmth and sincerity, making the resolution of his character’s arc feel somewhat unearned in the film’s otherwise inconsistent tone.
The Film’s Shortcomings and Genre Missteps
One of the core issues with How to Make a Killing lies in its lack of commitment to either dark humor or gripping drama. The movie’s restraint and reluctance to go fully into its twisted premise make it feel bland, especially when compared to John Patton Ford’s previous work, such as the sharp thriller Emily the Criminal. That earlier film featured Aubrey Plaza in a fearless role that fully embraced its dark themes, an intensity missing from Powell’s current film.
Despite the premise’s potential for biting satire or macabre fun, the film’s tone remains confused and tepid, unable to deliver meaningful laughs or a truly unsettling atmosphere. Becket’s killings, largely involving tasteless poisonings, do not carry the weight or cleverness expected from a black comedy, undermining the audience’s engagement and sympathy.
Why ‘How to Make a Killing’ Misses Its Mark and What’s Next for Powell
How to Make a Killing aimed to showcase Glen Powell’s range by offering him a lead role requiring dark comedic timing and moral ambiguity, but it ultimately reveals the challenge of balancing these elements effectively. While Powell’s star power and charisma remain evident, they are not enough to rescue a film that never fully commits to either its dark or humorous impulses.
The film’s modest runtime of one hour and 45 minutes includes moments of charm and intriguing performances, yet it lacks the depth and edge that audiences expect from a true black comedy. For Powell, this film represents another exploration beyond his previous successes and roles in films like Hit Man and The Running Man, where he has similarly pushed his boundaries with varying results.
Looking ahead, Glen Powell’s willingness to experiment with different genres and characters signals his ambition in Hollywood, but finding a consistent niche will require projects that better marry his talents with material that matches his intensity and charm. Fans hoping for a genuine black comedy in this vein may need to look elsewhere for now, but Powell remains a talent worth watching as he continues to evolve.
