A scene from ‘How to Make a Killing’

How to Make a Killing review: Charisma overcomes its crimes

‘How to Make a Killing’ is the charming story of a man who murders his estranged relatives to reclaim his legacy.

The saying goes that there’s no such thing as easy money and it’s mostly true with a few exceptions. Being born into wealth is the no. 1 way to effortlessly gain riches. Especially if your relatives don’t apply any stipulations on getting your share of the pie. But some families require a certain standard of behaviour to retain access to the family purse. If you break the rules, you may need to earn your own way for the first time in your life. In How to Make a Killing, a young man knows his family’s fortune is just beyond his reach and he intends to bring it closer.

Becket Redfellow (Glen Powell) was born to a young, single mother (Nell Williams) who once belonged to a prominent, wealthy family. When she refused to end her pregnancy, she was disowned. After her untimely death leaves Becket alone, he fends for himself. But he grows up always aware of the legacy that could have been his. The return of a childhood friend, Julia (Margaret Qualley), reignites his desire to get what he feels he deserves. Except the Redfellows haven’t grown more charitable or forgiving over time. So if Becket is going to get his share of the family fortune, he’s going to need to take extreme measures.

The film starts strong. Becket is an engaging storyteller. The fact that he’s relating his tale from a death row cell hours before his impending execution only adds to the excitement. It feels like an Agatha Christie novel in which a scorned relation murders people unworthy of their wealth. It even briefly ventures into Ready or Not territory for an unexpected turn of events.

Only Powell could play such a likeable serial killer. In fact, he’s so charming and his victims so terrible, it’s difficult to remember that he is actually a serial killer. When he secures a profitable career and finds a great romantic match (Jessica Henwick), viewers will hope it’s enough. But if it isn’t, they still won’t want him to face consequences for his actions. Even when he’s telling his story from a prison cell, you want things to work out for him somehow.

Becket is resourceful. Once he overcomes his trepidation and inadvertently gets his first murder under his belt, he becomes more calculating. Yet, he doesn’t act maliciously. The assassinations are thoughtful, generally non-violent and deceptive. In spite of his religious audience, Becket proudly describes his homicides and how he slyly directs the blame to their lifestyles. For a novice killer leading an ordinary life up to then, he easily carries out some expert murders. Moreover, the idea that he’s put on this deadly path by a seemingly flippant remark makes him seem very suggestible — or maybe he’s just a natural born killer.

The tendency for inexplicable knowledge extends to Julia, who is the story’s femme fatale. But Qualley isn’t a classic seductress. In truth, Julia’s attempts to use her womanly wiles to influence Becket fail again and again. Yet, she repeatedly implies she’s holding all the cards in spite of his snubs. It’s even more interesting that Julia is positioned as the villainous sociopath even though Becket is murdering people without remorse.

Perhaps because Becket’s targets are deplorable, spoiled rich people (played by Ed Harris, Raff Law, Bill Camp, Zach Woods, Topher Grace and Bianca Amato), their deaths seem less serious. The family’s callous rejection of his mother also adds an eye for an eye aspect to the narrative. Together, these elements soften Becket’s crimes so he’s almost more hero than anti-hero. In the end, he may get what he deserves, but who’s to say.

Writer-director John Patton Ford likes narratives about last-resort delinquents. It’s unfortunate only half the script works well — but that half is a joy to watch. On the other hand, Julia’s contributions to the story don’t make a lot of sense and Qualley doesn’t seem like the right fit for the role. This is an occasion where her nonchalance is not an asset.

Director: John Patton Ford
Starring: Glen Powell, Margaret Qualley and Jessica Henwick

Similar Posts

  • Review: ‘The Aftermath’ discovers a fine line between love and hate (Includes first-hand account)

    There are many things that can put a strain on a relationship. While it may be able to endure one stressor, more than that can cause irreparable damage and forcibly sever even the strongest bond. Examples of these burdens include death, war, distance, betrayal and blame — any one of which can create a rift that is widened with each additional problem. Perhaps most unfortunately, people can begin to drift without even realizing it’s happening until it’s too late and there’s nothing left but unsalvageable remains. The Aftermath takes place following several devastating events, the most significant being World War II.

  • Review: ‘The Shape of Water’ is Guillermo Del Toro’s best film to date (Includes first-hand account)

    Put simply: Guillermo Del Toro makes interesting films. When he’s tackling a specific genre, the result is uniquely striking. Even when they incorporate conventions, the stories are spellbinding, and the visuals are frequently breathtaking. Just the announcement of his next project builds immediate anticipation for the picture, which is usually still years from release. Del Toro’s latest film is undoubtedly a project that was close to his heart, which he’s unmistakeably poured into this movie as well. The Shape of Water is one of the year’s best and most favoured films.

  • Review: ‘The Lego Movie 2: The Second Part’ gets literal for the win (Includes first-hand account)

    Playing is fun and that never changes. But when you’re a kid enjoying your toys, at some point you become aware that you’re doing all the work… which leads to the question, what if they were alive? This idea resulted in countless movies and TV shows featuring children’s toys in their native lands or even their playroom at night when it’s safe to be themselves. The more cynical point of view deems these extensions as little more than a marketing ploy, which isn’t entirely wrong, but they’re also generally pretty entertaining. In The Lego Movie 2: The Second Part, actions in the real world threaten the existence of Bricksburg.

  • Review: ‘Ted 2’ hasn’t grown up as much as it thinks, which isn’t all bad (Includes first-hand account)

    Many children wished their favourite toy was alive and often pretended it was living while playing, but apparently only one little boy won that lottery: John Bennett animated his stuffed bear, Ted. Obviously you can’t discard a self-aware toy as you would others, so John and Ted grew up together to become beer-drinking, pot-smoking slackers. Best friends and “thunder buddies” for life, the two are there for each other through thick and thin. And in Ted 2, it gets pretty thin.