There has never been a worse time to be a rich person in a film. In the last seven years alone, Parasite, The Menu, Ready or Not, Triangle of Sadness, Knives Out and Saltburn have all seen the proverbial 1% meet gruesome ends, as the “eat the rich” subgenre has united audiences against a common enemy.
With this in mind, How to Make a Killing, the new thriller starring Glen Powell, both joins these ranks with ease and fails to stand out from the crowd. It is adequately watchable and aims to be keenly modern, but is undercut by a failure to escape roots in a British film from 1949.
View Green Video on the source websiteWritten and directed by John Patton Ford (Emily the Criminal), the film opens with Becket Redfellow (Powell) having his last meal while in a cell on death row. As he enters his final few hours, he recounts to a priest provided by the penitentiary how he murdered his way to the top of his family tree to claim billions in inheritance. If that sounds familiar, it’s because it is: this black-comedy thriller is a wholesale 21st-century remake of Kind Hearts and Coronets, the superlative Ealing comedy with Dennis Price and Alec Guinness.
What follows is a light-on-its-feet 105 minutes that revels in the double entendre of its title, as the audience are privy to the planning and execution of Becket’s schemes. Having “the right kind of life” is what drives him, as a number of cousins and uncles of all archetypes are dispatched in comedic ways involving yachts, a bow and arrow, photography dark rooms and teeth-whitening kits.
“I got this bottle of whiskey from Dick Cheney,” Camp’s banker brags as he foolishly takes Becket under his wing. Patton Ford’s script has the odd pleasing quip but rarely probes further to showcase the keen sense of class boasted by his previous film, Emily the Criminal. In a conflict never truly addressed by the script, Becket makes a mockery of wealth by birthright… but also asks us to believe in it.
By the time Ed Harris’s gravel-voiced patriarch arrives and a shootout ensues, steam is running out — and Becket reminds us that “this is a tragedy”, although the film can’t land on any genre with confidence. In the end, the rehashing of Kind Hearts and Coronets lends a cruel irony amid the subject matter: How to Make a Killing feels less like an heir apparent for our times and more like a distant relative struggling to forge their own path.
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