Studiocanal
Cast: Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Topher Grace, Ed Harris, Zach Woods, Raff Law
Music: Emile Mosseri
Cinematography: Todd Banhazl
Producers: Graham Broadbent, Peter Czernin
Runtime: 105 minutes
Screenplay: John Patton Ford
Director: John Patton Ford
Another Flop, Mr. Powell? Another One?
The story of this film begins with its protagonist, Becket Redfellow (Glen Powell), facing his fate and recounting, in a soft and sarcastic voice, how everything went so wrong, speaking to a priest just before his execution. Through a flashback, Becket explains how his mother was expelled from the obscene Redfellow dynasty by his grandfather, Whitelaw Redfellow—initially hidden in the shadows and later revealed to be Ed Harris. Disinherited at birth and forced to fend for himself in New York, Becket grows up on the outskirts of a $28 billion empire, with the imposing family mansion sitting in the wealthiest corner of Long Island. It’s something within reach, as Becket once promised his mother that one day he would claim what was rightfully his. Now, as an adult who has thought of nothing else since childhood, Becket’s plan to reclaim his inheritance is as simple as it is unhinged: eliminate every relative ahead of him in the line of succession who stands in his way.
Where have I seen this before? Where have I seen it recently? Ah yes—in “No Other Choice” (2025)! But its director, John Patton Ford, is light-years away from reaching the level of mastery of Park Chan-wook. Patton Ford kills any hint of surprise by opening his film with the lead already imprisoned; at the very least, a linear narrative structure could have made the series of deaths more impactful due to the unpredictability of Becket’s fate and whether he would achieve his goal.
Are you satisfied with what you’ve done? Do you regret it?
Glen Powell has the charisma and drive to keep leading films that could turn him into the new superstar Hollywood needs. He doesn’t want to be just another blond leading man, and he can afford to appear in smaller-scale productions like this one. However, despite his undeniable charm—which does make the film’s absurdities and inconsistencies somewhat enjoyable—his Becket is both an opportunist and someone oddly driven by a sense of justice (?). The rest of the family (Zach Woods, Topher Grace, and Raff Law), who are destined to be eliminated, fail to generate interest due to their minimal contribution to the plot and their exaggerated tone. Margaret Qualley and Jessica Henwick are the film’s highlights as Becket’s former and current love interests. Bill Camp serves as the film’s moral compass, with his character forcing Becket to choose: accept his circumstances with humility and grace, or continue his bloody pursuit.
“How To Make a Killing” (2026) is weak in both purpose and intention. It wants to get its hands dirty with blood, but it’s too afraid to truly do so. It even makes Disney’s “The Ladykillers” (2004) look like a masterpiece.
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