'How To Make A Killing' Review: A Slick, Deliciously Entertaining Ride
After making a notable splash with Emily The Criminal, writer/director JOhn Patton Ford returns with ‘How To Make A Killing’, a deliciously entertaining tale of how the pursuit of money and status can corrupt and poison.
‘How To Make A Killing’ centers on Beckett Redfellow (Glen Powell), a hardworking, down on his luck young man who was disowned by his extremely wealthy family at birth who decides to stop at nothing to get the inheritance he feels he so rightly deserves, removing anyone who is in his way including numerous members of his estranged family. Rounding out the fantastic cast is Margaret Qualley, Zach Woods, Topher Grace, Jessica Henwick, Bill Camp and Ed Harris. Thankfully, this murderer’s row of talent isn’t remotely wasted in this “eat the rich” story that refreshingly flips the script.
Writer/director John Patton Ford chose the perfect lead in Powell, an actor that has not only shown an immense versatility in recent years with projects like ‘Hit Man’, ‘Anyone But You’, ‘Chad Powers’, ‘Twisters’ and more recently ‘The Running Man’, but has also shown a knack for choosing projects that suit his talents and sensibilities like a glove. Powell thrives playing charming, charismatic characters who are left of center and Beckett is a prime example. Though what the character does is irredeemable and at times rotten to the core, Powell is able to imbue Beckett with enough pathos and depth to make the audience root for him despite his dark, misguided descent into murder. He carries the film with effortless ease and confident precision, keeping the film light and breezy on is feet while also giving its more powerful moments the weight they deserve in order to deliver the most brute impact. Simply put, Powell is the real deal and this film should put an end to any doubts about that.
Qualley is equally compelling in her supporting role as Julia, a childhood friend of Beckett’s who crosses paths with him again after years of separation. Not only is she consistently framed like a femme fatale, but she walks the walk and talks the talk as such, commanding the screen and biting every frame she inhabits to bits and pieces. Her and Powell have palpable chemistry, their scenes together becoming some of the film’s finest as their warm childhood friendship slowly evolves and morphs into something far more slimy and unsettling. Harris, who plays the patriarch of the Redfellow family, thankfully isn’t wasted in the role. He may not have many scenes in the film, but the screen time he’s given grants him juicy, compelling material to work with, reminding audiences of how easily the seasoned actor can make a lasting impact long after the credits roll. Not only does he give a memorable, delightfully sinister performance, but he also brings out some of Powell’s finest work, proving to be a terrific scene partner.
Patton Ford’s direction is also superb, balancing the irreverent humor and the thrills with a deft hand, never veering too heavily into the former or the latter. This is a film that certainly doesn’t take itself too seriously, but also never shortchanges the drama when needed. Patton Ford’s script is sharp, breezy, and delivers a potent commentary on how the pursuit of money, wealth, and status can not only give one crippling tunnel vision, but can potentially taint and poison their soul in such an endeavor. Not only that, but the film is a sobering reminder that it’s okay for one to dream smaller, to be satisfied with what many could consider to be an average life. For many like Beckett, there is never enough to fill the bottomless pit inside them and the way the film effectively demonstrates that through the character’s tumultuous journey is as engrossing as it is heartbreaking.
Elevating Patton Ford’s vision even further is the stunning cinematography from Todd Banhazl. It’s encouraging to see films start to hit theaters that actually are lit like actual films and don’t appear to be made for streaming content hampered by flat lighting, color grading and thoughtless direction. This is a film that looks luscious and filmic, every frame and shot lit to perfection, every scene made with care, intention, and craft. This is a film that looks and feels old fashioned in the best ways possible, a refreshing change of pace compared to most films hitting theaters in recent years. The film’s sound design is also fantastic, feeling like a character in and of itself, heightening and enhancing the most thrilling and unpredictable moments of this twisted tale.
‘How To Make A Killing’ is a thrilling and endlessly entertaining tale of revenge, power and avarice. Powell’s magnetic, layered lead performance coupled with Patton Ford’s winning script and assured direction strands no member of this immensely talented cast as it weaves its seductive, visceral and tragic tale. Though it may be loosely based on Robert Hamer’s revered ‘Kind Hearts and Coronets’, this is a re-imagining that feels wholly fresh and riveting, making this genre film an absolute must-see gem.