The golden age of the movie star – where one triumph seamlessly led to another – feels like a distant memory. Once, an actor could move from critical acclaim to blockbuster success with effortless grace. Now, even the most promising talents face a precarious path, a rollercoaster of hits and misses. Sydney Sweeney, fresh off a sensation, found herself navigating a landscape of uneven projects, a familiar struggle for many.
Glen Powell seemed poised for consistent stardom. His romantic comedy success ignited a wave of momentum, followed by promising roles in diverse films. Yet, recent releases have faltered, raising questions about his ability to maintain the upward trajectory. His latest venture, a remake of a classic black comedy, appears to be another potential stumble.
“How to Make a Killing” centers on Becket Redfellow, a man of surprising composure awaiting execution. Through lengthy confession, and increasingly drawn-out voiceover, he unravels the story of his descent into murder. The film immediately signals a problem: a reliance on telling rather than showing, hinting at a convoluted plot demanding constant explanation.
Becket’s story begins with a vast fortune – $28 billion – and a family steeped in privilege. His mother, ostracized for choosing love over societal expectations, finds herself exiled with her son. This relocation to Belleville, New Jersey, offers a rare moment of genuine humor within the film’s otherwise strained tone.
A sudden illness removes Becket’s mother from the equation, opening a path to the family wealth. A loophole in the estate allows him to inherit, provided he eliminates the relatives standing in his way. His mother’s final words, shockingly pragmatic, fuel his ambition: “Promise me that you won’t quit until you have the right kind of life.”
Re-entering society, Becket encounters Julia, a woman representing a world he craves. However, the film struggles to authentically portray the nuances of this upper-class milieu. Dialogue feels forced, lacking the subtle grace expected from characters of this background. The attempt at sophistication rings hollow.
Driven by a sense of entitlement and resentment, Becket meticulously plans a series of murders. He views his relatives as obstacles to be removed, each elimination bringing him closer to his inheritance. The plot echoes a classic film, but the execution feels derivative, leaning heavily into the stylistic choices of another director.
The film borrows visual flourishes – centered tracking shots, abrupt pans, and elaborate montages – that feel more imitative than inspired. The supporting characters, sketched with broad strokes, resemble caricatures from a cartoon. A party animal, a pretentious artist, and a fiery televangelist populate the Redfellow family, creating a bizarre and unbelievable ensemble.
Even the portrayal of the family patriarch, played by a veteran actor, feels strangely off-kilter. His opulent surroundings and peculiar pronouncements contribute to the film’s overall sense of artificiality. The attempt at dark humor falls flat, lacking the necessary wit and subtlety.
The film never truly explores the psychological motivations behind Becket’s actions. Is it pure greed, a response to social injustice, or a deeper, more disturbing impulse? A subplot involving a seemingly virtuous character offers a fleeting attempt at moral complexity, but ultimately feels underdeveloped.
Ultimately, “How to Make a Killing” is a misguided effort. It’s a film that lacks a clear perspective, a compelling narrative, and a genuine understanding of its subject matter. For the ambitious star at its center, it represents a significant misstep, a reminder that even talent can be overshadowed by a flawed project.
