Review: How To Make a Killing – A cut above

Directed by John Patton Ford
Starring Glen Powell, Margaret Qualley, Jessica Herwick, Ed Harris 

7/10

Disowned at birth from his ultra-wealthy family but not cut out of the line of inheritance due to complicated tax law, Becket (Glen Powell) only has one chance to claim what is rightfully his—he must be the last Redfellow standing. As he recounts his deeds to the priest on death row, we see the path that leads to that cell and how a childhood friend (Margaret Qualley) and a new love (Jessica Herwick) sought differing paths for him.

There’s a lot to be said for a black comedy with a black heart and a sharp tongue. More so if it’s directed at deserving targets. As we enter an era of extreme wealth inequality, it does make you wonder if the aristocracy of Versailles would have been quicker under the blade if there had been today’s media saturation. How To Make A Killing takes aim at many such caricatures of excess and greed visible today. As such, Becket’s murder spree in an attempt to acquire his inheritance is seen as, while not quite justified, rather extremely cathartic.

At first glance, the decision to start the action on a final prison confession hours before execution might appear to rob the film of dramatic tension, but it demonstrates a faith in Powell’s charisma. Bringing his voice to the forefront, allowing him to narrate with the sly and devilish personality his character would develop through the course of events, is actually a smart move. It’s more than a narrative convenience; it demonstrates his charm and flippancy, winning the audience over.

Even though we know he’s caught, we hope that the situation will change, that maybe he somehow deserves to get away with it. Besides, the narrative has more than a few unexpected twists to throw at us as he recounts his journey to that cell.

Then there’s Margaret Qualley and Jessica Herwick playing the two dialectically opposed forces tugging at Becket’s conscience. Qualley is in fine form playing the bored socialite with all the fervour of a ’40s femme fatale. It’s like Double Indemnity by way of Saltburn and surprisingly worthwhile. Meanwhile, Herwick embodies the simple charms of a life well lived and performs wonders in not making it seem boring or twee.

Drawing inspiration from Kind Hearts and Coronets, How To Make A Killing transposes the tale of class and murder to modern late-stage capitalism. It’s biting satire that’s darkly amusing, buoyed by a strong cast and fast pacing. It doesn’t quite maintain its momentum, but the results are engaging and entertaining.

DAVID O’CONNELL