Glen Powell, the rising star captivating audiences with his charisma, takes center stage in “How to Make a Killing.” The film presents a darkly comedic premise: a man systematically eliminating his relatives to claim a vast fortune. It’s a concept brimming with potential for thrilling, twisted entertainment.
However, the film quickly reveals a familiar echo. The story draws heavily from the 1907 novel “Israel Rank,” and more directly, from the beloved British classic “Kind Hearts and Coronets.” While ambition is evident, “How to Make a Killing” struggles to escape the shadow of its predecessor, falling short of achieving the same enduring brilliance.
Powell embodies Becket Redfellow, a man disowned at birth and driven to desperate measures. He narrates his descent into murder from death row, framing the story as a calculated revenge against the grandfather who banished his mother. The initial setup is promising, hinting at a darkly humorous and compelling tale of retribution.
The early killings offer a spark of anarchic fun. Becket dispatches his cousins with a surprising ease, beginning with the flamboyant Taylor, a finance bro lost in a world of parties. These initial acts feel bold, drawing the viewer into the murky depths of Becket’s plan. But the momentum soon falters.
As the film progresses, the murders become surprisingly understated, almost anticlimactic. Key moments pass by with a blink-and-you’ll-miss-it quality, diminishing the impact and the potential for genuine suspense. The film seems hesitant to fully embrace the darkness inherent in its premise.
Powell’s undeniable magnetism, showcased in recent successes, feels underutilized. While he delivers a capable performance, the script doesn’t provide enough opportunity to truly flex his comedic range or explore the complexities of his character. He’s a charismatic presence, but one that feels somewhat constrained.
The relationship between Becket and Julia, his childhood crush played by Margaret Qualley, is equally underdeveloped. She’s presented as a tantalizing, enigmatic figure, initially suggesting the murderous spree with a provocative challenge. Yet, their connection remains frustratingly superficial, lacking the twisted dynamics it could have explored.
The film attempts to differentiate itself from “Kind Hearts and Coronets,” but in doing so, sacrifices much of its potential. The original’s ingenious casting – Alec Guinness playing all eight victims – injected a unique and unforgettable element of mischief. “How to Make a Killing” lacks this playful eccentricity.
Ultimately, “How to Make a Killing” delivers a modestly entertaining experience, but one that feels shallow and ultimately forgettable. It’s a competent re-telling of a familiar story, but one that fails to leave a lasting impression. The true masterpiece remains firmly in the past.
For a truly timeless and captivating dark comedy, the original “Kind Hearts and Coronets” remains the definitive choice. It’s a film that continues to delight and provoke, a testament to its enduring wit and originality.
