A24’s latest dark comedy arrives wrapped in pedigree and provocation. How to Make a Killing, written and directed by John Patton Ford, reimagines the 1949 British classic Kind Hearts and Coronets for an era obsessed with wealth disparity, inheritance loopholes, and “eat-the-rich” satire. The premise remains wickedly simple: Becket Redfellow, the overlooked and financially sidelined member of an obscenely wealthy dynasty, decides to eliminate the seven relatives standing between him and a vast fortune. What unfolds is a sleek, contemporary noir comedy about greed, ambition, and the seductions of old money — one that critics describe as stylish, sharply performed, but uneven in its bite.
Now that major publications have weighed in, How to Make a Killing has emerged as one of the more divisive mainstream releases of the season. The consensus leans mixed-positive: entertaining, occasionally incisive, elevated by strong performances — but not as razor-sharp or wickedly subversive as it perhaps aspires to be.
Owen Gleiberman at Variety frames the film as “a watchably weird reimagining” that has “a lot more than murder on its mind.” He describes it as a “light-fingered drop-dead screw-loose noir,” applauding its playful cynicism and modern thematic layering. Yet even Gleiberman tempers that praise, noting that in an era shaped by Dexter, Succession, and other morally elastic antiheroes, the film can feel like “patchy amusement.” His verdict is telling: he was held by it, but not overwhelmed by it. The ambition is clear; the execution is uneven.
The performance anchoring nearly every review is Glen Powell’s turn as Becket. Gleiberman argues that Powell “carries you,” crediting the actor’s energized sense of play and calculating intelligence. Critics repeatedly highlight Powell’s ability to project charm and danger simultaneously, with Variety even likening his sleek confidence to Tom Cruise’s star persona. Powell’s Becket is always thinking, deciding, calculating — and that visible mental activity becomes the film’s engine. Even critics less enamored with the screenplay concede that Powell’s charisma smooths over narrative rough patches.
That praise is echoed, albeit with caveats, across other outlets. The review from The Guardian is more skeptical, describing the remake as stylishly made but ultimately lacking the icy precision of its predecessor. It suggests that the update loses the elegant cruelty that made the original such a landmark of British black comedy, and questions whether the modern “eat-the-rich” angle carries the same subversive sting. The Guardian’s perspective underscores a recurring critique: that while the film looks sharp and moves briskly, its satire sometimes feels blunted.
Coverage from Associated Press similarly notes that the biting edge of the 1949 classic is softened here. The review points to underdeveloped motivations and tonal inconsistency, arguing that Becket’s descent into serial elimination lacks the escalating tension that could have sharpened the satire. The concept intrigues, but the execution doesn’t always cut deeply enough.
Still, it would be inaccurate to suggest that the film fails outright. Several critics emphasize its stylish craft and ensemble appeal. Margaret Qualley’s performance, in particular, draws attention. As Julia — Becket’s morally fluid childhood love — she injects volatility and glamour into the narrative. Gleiberman observes that Qualley “gives the movie a charge,” her presence radiating ambition and hunger. Her character embodies the film’s thesis about money as both seduction and corrosion, and her scenes provide some of the sharpest sparks. Supporting players such as Bill Camp and Topher Grace add texture, with Camp’s gravitas and Grace’s caffeinated energy frequently singled out as highlights.
The thematic ambition of How to Make a Killing is perhaps its most intriguing dimension. Ford uses the inheritance-murder structure to riff on contemporary financial excess, megachurch opportunism, and generational entitlement. The Redfellow fortune represents old money insulated from consequence, a concept that resonates strongly in the post-Epstein, post-financial-crisis cultural climate. Critics acknowledge that the film attempts to operate as a parable of modern greed. However, some argue that its commentary lacks sustained sharpness. The satire gestures toward systemic rot, but often settles for stylish cynicism rather than truly corrosive insight.
Another recurring point of contention is narrative plausibility. Reviews note that Becket’s spree unfolds in a world seemingly unconcerned with forensics or airtight investigative procedure. The detective trailing him operates more on suspicion than hard evidence, a device that some critics view as playful absurdism and others see as a structural weakness. The film is narrated from prison, with Becket awaiting execution, which removes suspense about his eventual fate but introduces a fatalistic tone. For some, this framework adds dark irony. For others, it diffuses tension.
The tonal balance between screwball comedy and murder thriller is equally debated. While Variety leans into the film’s playful energy, other critics describe moments where humor and brutality clash awkwardly. The film wants to be both brazen lark and moral fable, and that duality doesn’t always cohere. Yet even those who find it uneven concede that it remains watchable, largely due to its performances and Ford’s assured visual style.
Ultimately, How to Make a Killing lands as a polished, actor-driven thriller that provokes more conversation than outrage. It doesn’t replicate the wicked originality of its source material, nor does it fully redefine the antihero narrative for modern audiences. What it does offer is a slick, contemporary noir powered by Glen Powell’s charisma and Margaret Qualley’s electric presence. The satire may not cut as deeply as intended, but the film’s cynical swagger and ensemble strength keep it afloat.
Released by A24, How to Make a Killing is written and directed by John Patton Ford and stars Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Topher Grace, Ed Harris, Zach Woods, and Raff Law. The film carries an R rating and runs 105 minutes. It opened in U.S. theaters on February 20, 2026.
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