‘How To Make A Killing’ Review
Stars: Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Topher Grace, Ed Harris, Zach Woods, Raff Law | Written and Directed by John Patton Ford
Written and directed by John Patton Ford, How To Make A Killing is a remake of the classic Ealing comedy Kind Hearts and Coronets (1949), in which impoverished Dennis Price murdered the eight aristocrats (all played by Alec Guinness) standing in his way of a massive fortune. Strictly speaking, it’s a reimagining, since various elements have been changed, but the result is something of a mixed bag.
Glen Powell plays Becket Redfellow, whose mother (Nell Williams) was cast out of her preposterously wealthy family after having a child out of wedlock. After a casual remark from his former childhood sweetheart, Julia (Margaret Qualley), Becket decides to reclaim the fortune that should rightfully be his by murdering the seven remaining Redfellows that stand in his way.
The first murder proves surprisingly easy, but things quickly get complicated when Becket begins a relationship with Ruth (Jessica Henwick), the former girlfriend of his second victim, pretentious artist Noah (Zach Woods). But just when Becket seemingly has everything he wants – a loving relationship, a good job – Julia pops up to throw a spanner in the works.
As with the original film, the story is told in flashback by Becket, who is narrating from a prison cell on Death Row, so we know he is eventually caught and punished for his crimes. Accordingly, the suspense isn’t so much in whether the murders will be successful, but more about how it all goes so wrong for Becket.
How To Make A Killing’s main problem is baffling. Why would you choose to remake one of the all-time greatest black comedies, but completely strip out the blackly comic tone, and with it, everything that made the original work in the first place? Whatever the answer, that’s what happens here, and the result is that Becket just comes across as more of a cheerful serial killer than as a man seeking to avenge the wrong that was done to his mother by the obnoxiously wealthy Redfellows.
On a similar note, by not having the same actor play all the murdered Redfellows (the central comic conceit of the original), the murders take on a different tone. Part of the comic joy of the original was that every time an Alec Guinness character was killed, another Alec Guinness character would pop up to take his (or her) place. Removing that aspect, therefore, strips away the original film’s main joke.
On the plus side, the performances are fine. Powell is immensely charming and he stays on the right side of sympathetic, despite his actions. Similarly, there’s strong support from the always likeable Henwick, while Bill Camp, Topher Grace and Ed Harris are all good value as some of the other Redfellows. However, the real stand-out is Qualley, who’s absolute dynamite as Julia, stealing every scene she’s in with her own brand of leggy seduction.
In fairness, the addition of Qualley’s character – the main tweak to the original script – just about works, adding an extra story element that plays out nicely. However, it ultimately backfires considerably, because the changed ending doesn’t work at all, and completely misses the deliciously dark impact of the original film’s final moments.
In short, How To Make A Killing is never less than watchable, thanks to a strong cast and pacey direction, but stripping out the blackly comic tone of the original film remains a baffling decision and ultimately leaves the film a little confused about what it actually wants to be. Watch it by all means, but make sure you seek out Kind Hearts and Coronets too, if you’ve never seen it.
*** 3/5
How To Make A Killing is in cinemas now.
