Following up a debut feature understandably comes with an immense amount of pressure. In 2022, writer-director John Patton Ford’s “Emily the Criminal” made him an indie director to watch, garnering him citations from regional critics groups for his debut feature and a trophy for Best First Screenplay from the Independent Spirit Awards (where the movie was also nominated for Best First Feature). The goodwill he built from “Emily the Criminal” was parlayed into the glossy new A24 production “How to Make a Killing,” starring Glen Powell.
As the movie opens, Becket Redfellow (Powell) is sitting on death row, recounting to a priest what got him there. The way Ford lays out the story doesn’t service the movie, because we know the outcome before the opening title card is even plastered across the screen. Perhaps Ford thought the journey to the end would be enough to justify the movie’s framework, but “How to Make a Killing” is a limp, would-be satire that falls entirely flat from start to finish.
Becket was born to a young mother, and his father passed away the day he was born. Becket’s mother was disowned by her wealthy family (the disownment delivered by her father, played by Ed Harris), therefore kicking her out of line for an inheritance of a ghastly sum of money. She passes away early in Becket’s life, making him promise to “not quit” until he has the life he deserves.
Becket works in a tailor shop in Manhattan, where his childhood crush Julia (Margaret Qualley) comes in one day and they strike up a conversation. Becket has always been open about wanting to collect on the family’s inheritance, and on her way out the door Julia kiddingly suggests he starts killing off the family members that stand in his way. Without giving it much thought, Becket does just that (Bill Camp, Topher Grace, and Zach Woods play a revolving door of estranged family members).
Throughout the duration of “How to Make a Killing,” there’s a sense that the movie believes it’s a biting eat-the-rich satire, but that never really translates to the viewing experience. As Becket evolves into a Wall Street finance guy, it gives him an outlet for his aspirational wealth. He begins dating Ruth (Jessica Henwick), and on the surface it seems like Becket has all the components of a fulfilling life, but he can’t let go of the idea of the inheritance. He doesn’t want to eat the rich; he wants to be the rich.
Powell’s performance as Becket Redfellow – a douchey finance-bro name that only a screenwriter could conjure up – is another attempt to launch Powell as a leading man. His chiseled movie star looks and Chesire grin should perfectly juxtapose a dark and deranged character living beneath the surface and Powell is serviceable in the role, but he is let down at every turn by Ford’s screenplay that doesn’t dare to go dark, even when Becket is taking family members out one-by-one. Perhaps it was a case of not wanting the character to appear as a skilled serial killer, but it robs the movie of any energy or suspense.
Ford’s “Emily the Criminal,” which starred Aubrey Plaza in the title role, was imperfect, but a much tighter construction than his sophomore feature. Like “How to Make a Killing,” “Emily the Criminal” had more on its mind but situated the character in more real-world stakes. No matter which angle “How to Make a Killing” is viewed from, the tale of aspirational wealth and family trauma rings hollow all the way through.
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