How to Make a Killing

Director: John Patton Ford
Starring: Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Zach Woods, Topher Grace, Ed Harris, Bianca Amato, Raff Law, Alexander Hanson, Adrian Lukis, James Frecheville, Nell Williams, Grady Wilson, Maggie Toomey
Running Time: 105 min.
Rating: R

★★★ ½ (out of ★★★★)     

Extending his streak of compelling, outside the box choices, a still very busy Glen Powell delivers another charismatic turn in writer/director John Patten Ford's unjustly overlooked How To Make a Killing. Seemingly popping up everywhere, Powell's been labeled as overexposed, this despite challenging himself in a variety of different roles where he's fared better than most. And having now recently proven his worth as an action and rom-com lead, he tackles a wicked, biting satire best described as Dexter meets American Psycho. It's also a real hoot, subverting expectations at nearly every turn.

As the narrative unpeels its numerous layers, it's easy to envision audiences complaining about an abundance of plot holes. But the script's tighter than you'd think, with Ford effectively covering his tracks by keeping the focus squarely on the antagonist's complicated and constantly evolving motivations. Skillfully mixing dark humor with social commentary, it aims higher than being the latest Hollywood outing obsessed with eating the rich, as there's actually a lot more happening beyond it. 

On death row for murder, Becket Redfellow (Powell) awaits his final meal while telling a priest (Adrian Lukis) the story of how he wound up in prison. It begins decades earlier when his mom Mary (Nell Williams) was disowned by her father and wealthy Redfellow patriarch Whitelaw (Ed Harris) after her unplanned teen pregnancy. With Mary trying to make ends meet as a single mother to young Becket, the boy's crush on wealthy friend Julia Steinway falls by the wayside after his mom's shocking death sends him through a series of foster homes.

Years later, Mary's final wish for Becket to "fight for the life he deserves" still echos in his mind as an adult selling luxury suits in New York City. But after uncovering a legal loophole that entitles the last living Redfellow heir to a $28 billion inheritance, he gets an idea. Just as a recently married Julia (Margaret Qualley) reenters his life, he formulates a plan to kill the remaining members and collect the money. Considering the suspicions those consecutive deaths would raise, this proves challenging, at least until he's welcomed into the family by his generous Uncle Warren (Bill Camp). Though Becket starts to obtain the acceptance he's longed searched for, the murder and subsequent guilt continues, threatening to unravel this new life he's built for himself.  

By bookending events with Becket's imminent execution, the film not only creates a sense of urgency, but enables Powell to establish this confident and relaxed character who strangely appears resigned to his own fate. And while the story he spins is far out there, we're left with the impression he isn't lying or fudging facts, allowing us to see how this cocky but superficially likable guy ends up on death row. It may be easy to assume he gets sloppy and his luck runs out, but what actually happens is a lot more complicated.    

The intriguing pre-credit flashback prologue crucially sets the stage for all that follows, giving resonance to the cruel ultimatum Becket's mom receives at the hands of her cold, dismissive father. And whatever meaning she intended with her last words give him the green light for revenge, providing in his mind a reason to take what he's owed.    

That whole section is enhanced by the brief but impactful performances of child actors Grady Wilson and Maggie Toomey, who play the respective younger versions of Becket and Julia. Not only do they physically resemble their older counterparts, but certain quirks and details of their personalities are later replicated by Powell and Qualley. For a change, it's actually not a stretch to believe both pairs of actors are portraying the same people, with only time and age separating them.

Once Becket commits to clipping the leaves off his family tree to become sole heir, hilarity ensues when he clumsily realizes he's good at this whole murder thing. Dimwitted, arrogant Stock broker Taylor (Raff Law) and pretentious artist Noah (Zach Woods) are his initial targets, but these hapless younger cousins are merely in Becket's way, standing between him and a huge payout. The plot then further thickens once he falls hard for Noah's girlfriend Ruth (Jessica Henwick), who hasn't a clue she's involved with a serial killer. 

To Ford's credit, he preemptively addresses issues with the premise by having the FBI trail Becket early, even if they're incredibly dense and struggle to find a shred of evidence linking him to unexplained deaths of multiple family members. But at least the script has them make enough of that connection for us to accept he can't outmaneuver authorities forever, always remaining a misstep away from being caught. 

Becket's bond with his uncle Warren might be the most genuine relationship he has, if only because he's the sole Redfellow sincerely apologetic about what happened to him and his mom. And in giving this long lost nephew a job and opportunity, he proves it, earning Becket's loyalty and presumably ending his killing spree, at least until he's tempted to finish off other slimy cousins like crooked pastor Steven J. Redfellow (hilariously played by Topher Grace).

When Becket keeps the murder train rolling long after he's accumulated enough money and status to stop, Powell's performance helps explain why. If maybe there's a sick, addictive rush that comes in getting away with it, everything still comes back to the quest to avenge his mother and fulfill her dying wish, however twisted that logic becomes.  

Some may think Powell should have gone darker, but he gets it just right by playing him more reluctantly, putting viewers in the awkward spot of examining his justification, perhaps even while condemning the selected methods. Amid a plethora of less redeemable characters, he's at least given somewhat of a conscience as the actor strong arms us into considering whether Becket's really some sort of anti-hero. 

Margaret Qualley electrifies as Julia, popping in and out to prey on her childhood bond with Becket. Every mannerism and line delivery help define the eccentricities of a quirky, unpredictable character you can't take your eyes off. And neither can Becket, whether he wants to or not. Inevitably, he's torn between Julia and loyal, pure hearted girlfriend Ruth, who Henwick effectively plays as nearly her polar opposite. In many ways she represents Becket's best life, if only he can let go of his obsession with the inheritance. Instead, the lies and games continue to pile up. 

All this leads to the heavily awaited showdown with grandfather Whitelaw, who's chillingly played by a quietly intense Harris. And while Becket's encounter with the Final Boss who kicked his mom to the curb doesn't disappoint, there's also that nagging issue of how he ends up on death row. It's not for the reason you'd think, resulting in a devilishly ironic third act twist that carries strains of a gender reversed Gone Girl. 

Loosely based on the 1949 British film Kind Hearts and Coronets, this is Ford's follow-up to his indie sleeper hit, Emily The Criminal. But save for a law breaking main character, it's a total 180, with the director using this bigger platform and budget to make a far different film featuring an exceptionally loaded cast of talent. Compelling from start to finish, it's just a lot of fun, as wild developments lead the story exactly where it needs to go, climaxing with a final act that solidifies this as a strange trip worth taking.