John Patton Ford’s new film, How To Make a Killing, clearly aims to recapture the spirit of classic comedic crime films, particularly those made by Ealing Studios in the past. It’s understandable that the movie draws comparisons to the 1949 classic Kind Hearts and Coronets, but it’s difficult to reach the same heights as such a perfect film. The real letdown isn’t that it fails to live up to its inspiration, but rather that it doesn’t quite capture the cleverness and playful tone that made those old British comedies so beloved. This is especially surprising coming from the director of the excellent thriller Emily the Criminal.
Glen Powell shines in How To Make a Killing as Becket Redfellow, a man cut off from his wealthy family. Now an adult and determined to succeed on his own, Becket devises a daring plan: he intends to eliminate all relatives ahead of him in the line of inheritance, ultimately becoming the sole heir to the Redfellow fortune. The premise is similar to the classic film Kind Hearts and Coronets, though this version takes its own unique approach.
The film How To Make a Killing mainly lets us watch a character aggressively climb the social ladder in a snobbish, money-focused world, always with a charming smile. However, it doesn’t offer much beyond that. While the Ealing comedies that inspired it were lighthearted and playfully wicked, this film feels slow and plodding, with jokes that only manage a slight smile. It might be that the director, Powell, isn’t naturally suited to comedic acting, which is especially noticeable when he acts alongside Margaret Qualley.
A24
Margaret Qualley shines as Julia, a wealthy childhood friend and the object of Becket’s affection. Her previous work with one of the Coen brothers on films like Drive-Away Dolls and Honey Don’t! perfectly prepared her for the film’s comedic style, and every time she appears on screen, it’s a highlight. The problem is that Qualley is the only actor fully embracing the film’s farcical nature; her costars either treat it like a serious crime drama or overplay the comedy, resulting in a lack of consistent theatricality.
It’s particularly frustrating considering the film boasts a talented supporting cast. Jessica Henwick (known from Glass Onion) plays Ruth, Becket’s love interest, but her character feels a bit too sincere to fit the film’s outlandish events. While Zach Woods, Topher Grace, Bill Camp, and Ed Harris all give it their all as the Redfellow family, the script doesn’t give them much compelling dialogue to work with. The writing lacks any real spark, wit, or memorable lines.
A24
Both films share a similar tone, but while Emily the Criminal felt quick and stylish, perfectly suited for a fun crime story, How To Make a Killing focuses more on the luxurious settings of its targets. The new movie is visually appealing, but its style feels inconsistent – sometimes too harsh when it should be lighthearted, and too polished when it needs to be grand. Ultimately, it feels almost too realistic, preventing the story’s more dramatic elements from truly shining.
It’s no surprise Qualley is so important to the film. Without her, Powell is left to carry everything, but the movie never quite becomes funny enough to be truly enjoyable, or sharp enough as a critique of wealth to feel bold. It’s all pretty predictable, and that’s before considering the film’s biggest weakness.
The film, How To Make a Killing, opens with Becket on death row, hours before his execution. He requests a priest and begins to tell his story, and the entire movie is told through his constant narration. This voice-over is relentless and can be frustrating, as it often explains things the audience can easily figure out on their own. While narration can be effective, this film lacks the humor needed to make it work, and it frequently disrupts the flow of scenes just as they start to pick up. It’s not that the plot is difficult to follow – the narration seems more like a reference to the film Kind Hearts and Coronets, which uses a similar storytelling style with much greater wit and success.
A24
People often say things aren’t made the same way anymore, and there’s a reason for that – attempts to recreate classic styles often fall flat. Ford isn’t alone in this; even the Coen brothers struggled when they tried to remake the Ealing comedy The Ladykillers in 2004, and it’s generally considered their weakest film. Some viewers even wondered if they’d lost their touch after Fargo, but they quickly proved their skill with No Country for Old Men.
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Based on her work in Emily the Criminal, Ford clearly has a lot of potential. However, while How To Make a Killing shows good production values, it doesn’t quite come together as a fully satisfying film. Hopefully, her next project will be more successful.
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2026-02-18 17:03