How to Make a Killing, directed and written by John Patton Ford, arrives in theaters in early 2026 as a dark comedy thriller that blends crime, satire, and social commentary. Starring Glen Powell as Becket Redfellow, the film’s premise promises gleeful mischief and biting humor, but its execution sits somewhere between clever and underwhelming.

In this full How to Make a Killing review, we break down the plot, performances, themes, strengths, weaknesses, and overall impact of this much-anticipated release.

What How to Make a Killing Is About

How to Make a Killing is loosely inspired by the classic 1949 British black comedy Kind Hearts and Coronets. The 2026 adaptation relocates the story to modern-day New York and recasts its central revenge plot in a contemporary context.

In the film, Becket Redfellow is disowned at birth by his ultra-wealthy family. Fuelled by resentment and a burning desire to reclaim what he believes should be his inheritance, he hatches an audacious plan: systematically eliminate anyone standing between him and the Redfellow fortune. Told through extended flashbacks from death row, Becket’s murderous spree mixes dark comedy with moral ambiguity.

The cast includes Margaret Qualley as Julia Steinway, Becket’s manipulative childhood acquaintance, alongside Jessica Henwick, Bill Camp, Zach Woods, Topher Grace, and Ed Harris in supporting roles.

Plot and Structure: Clever Setup, Uneven Payoff

The narrative begins with Becket recounting his life from a death row cell, four hours before execution. The decision to use this framing device gives the movie an immediate noirish flavor and sets up audience expectations for both humor and horror.

The story unfolds through layered flashbacks that chart Becket’s descent into murder. His kills range from accidental to premeditated, each designed to remove another obstacle to his inheritance. While the premise remains engaging, the tone often struggles to balance satire and seriousness. Some sequences feel richly comic, while others veer toward dullness or narrative padding.

For much of its runtime, the film maintains a fast pace, but critics have noted that it loses momentum as it progresses. Several reviewers describe the third act as underwhelming and anticlimactic, making portions of the film feel sluggish rather than sharp.

Performances: Charisma With Limits

Glen Powell’s lead performance grabs attention with charm and ease. Powell’s charisma keeps the movie afloat even when the script falters, and his portrayal of a morally conflicted antihero is engaging. However, some critics argue that Powell’s performance lacks the menace and complexity needed to elevate the satire fully.

Margaret Qualley plays Julia, whose ambiguous intentions add tension to Becket’s story. While Qualley brings sultry energy, several critics feel her character is underwritten and doesn’t fully justify her narrative weight.

Supporting cast members like Ed Harris and Topher Grace provide interesting counterpoints to Powell’s Becket, but the ensemble’s potential is not fully realized due to uneven characterization and pacing issues.

Tone and Style: Dark Comedy With Mixed Success

The film aims to be a dark comedy that satirizes class divisions, revenge fantasies, and the corrosive effects of greed. It takes cues from noir and crime conventions, visible in its visual style and narrative framework.

John Patton Ford’s direction employs a moody visual palette that creates a slick, urbane setting for Becket’s murderous plot. Todd Banhazl’s cinematography and Emile Mosseri’s score heighten this atmosphere, alternating between tense and playful.

However, critics point out that the humor often lacks bite. Where classic black comedies use satire to sharpen social critique, How to Make a Killing sometimes feels content with surface-level mischief. This results in a film that entertains but rarely provokes deeper reflection.

Themes: Ambition, Class, and Morality

At its core, How to Make a Killing explores themes of ambition and resentment. Becket’s rage stems from a sense of injustice — being denied his birthright solely because of his family’s elitism. His resort to murder underscores a broader commentary on social inequity and the lengths people may go to claim wealth and status.

Yet while the concept is fertile, the execution feels uneven. Some critics argue the film fails to make a compelling statement beyond its plot mechanics, leaving its critique of class and morality underdeveloped.

Audience and Critical Response

On review aggregator sites, How to Make a Killing has received mixed reviews, with critics divided on its tone and narrative coherence. Many praise Glen Powell’s performance and the film’s stylish setup, but note that the satire and dark comedic elements lack consistent sharpness.

Audience reactions mirror this split. Some viewers appreciate the blend of crime and off-beat humor, noting that the film offers moments of genuine fun despite its flaws. Others criticize its uneven pacing, flat character arcs, and the sense that the movie never fully commits to its themes.

Pros and Cons: What Works and What Doesn’t

What Works

• Charismatic lead performance by Glen Powell
• Atmospheric cinematography and engaging visual style
• Noir-inflected storytelling with a unique framing device
• Moments of dark humor and ensemble interplay

What Doesn’t

• Inconsistent tone between satire and seriousness
• Underdeveloped characters, especially Julia
• Pacing issues in the latter half
• Themes not fully explored, leading to mixed impact

A Stylish Idea That Doesn’t Fully Stick the Landing

How to Make a Killing is a movie with a sharp premise, charismatic leads, and a noir-tinged style. It delivers enough moments of dark humor to keep audiences entertained, but its uneven execution and diluted satire prevent it from becoming a fully satisfying black comedy.

While fans of Glen Powell and twisty crime tales may find plenty to enjoy, viewers seeking a more cohesive satire or deeper thematic resonance may walk away wishing for a sharper edge.

Rating: 3.5 / 5

This is a film that wears its ambition proudly, even if it doesn’t quite make the killing it aims for.

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