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
