How To Make A Killing (2026) Review!!

Synopsis – Disowned at birth by his obscenely wealthy family, blue-collar Becket Redfellow will stop at nothing to reclaim his inheritance, no matter how many relatives stand in his way.

My Take – While the commercial failure of filmmaker Edgar Wright‘s reboot of The Running Man (2025) has box office analysts questioning his star power (though he was great in the film), we have yet another release that proves that irrespective of the film’s performance, Glen Powell sure can command the screen. Even when his character may be doing objectively bad things or be a pathetic man with nothing left to hold onto. Mainly as Powell imbues his roles with enough wit and self-awareness that you still find yourself rooting for him.

Written and directed by John Patton Ford (Emily the Criminal) and loosely inspired by the 1949 British film Kind Hearts and Coronets, which itself was an adaptation of Ron Horniman’s 1907 novel Israel Rank: The Autobiography of a Criminal, at first glance, the film seems like just another wonderfully irreverent application of the “Eat the Rich” ideal that just feels so good to watch, that is until it twists itself and reveals to be not just another biting satire about killing the rich for the betterment of the world, but is more of a hilarious tragedy about multiple murders, all committed for a singular person’s benefit.

Making it a different kind of grass-is-greener story, and tale about class and greed, yet not about morality and money like some may expect. Mainly as the film introduces us to a character who is, largely, a serial killer, but the experience is such that we aren’t thinking about that, instead enjoying watching gorgeous people do really bad things to one another.

Sure, it doesn’t reinvent the sub-genre wheel, and being filled with dark and dry humor, it may come as an acquired taste, but Powell’s performance is the real selling point. Something which helps the film work well enough as a follow-up to 2022’s Aubrey Plaza starrer in the form of as different morally murky story about ambition, desperation, and questionable choices.

The story follows Becket Redfellow (Glen Powell), who was rejected by his wealthy family before he was even born. His mother, Mary Redfellow (Nell Williams), both unmarried and just 18-years-old got pregnant unexpectedly, and in order to avoid a scandal to his $28 billion estate, her father Whitelaw Redfellow (Ed Harris) disowns her and her unborn child.

And though she gave him a decent life as a single mother, prior to her untimely death, Mary stressed that Becket should have the life he “deserves” to have. An affirmation that doesn’t come to him years later when he is fired by his lowly job at a custom men’s suits parlor and decides to become the heir to the family fortune.

The only problem is that there are seven Redfellows that are ahead of him, and the only solution he can think off to reduce the competition is to eliminate them one by one. But a chance connection with a young woman named Ruth (Jessica Henwick), who is involved with one of his victims, Noah Redfellow (Zach Woods), along with the reappearance of Julia Steinway (Margaret Qualley), his wealthy childhood crush complicate Becket’s unusual plans, forcing him to reconsider what’s most important.

With that simple premise, the 105 minute long narrative is off the races, being a delightful dark comedy from top to bottom. The film embraces the story’s darker themes, such as wealth, entitlement, and legacy, but never lets things get too heavy. There is plenty of humor and irony sprinkled amongst all of the killing, which makes the film pretty fun to watch. Becket’s spree of family killings isn’t just a ruthless and bloody revenge plot to take what’s his.

The killings are small, focused on little errors in someone’s life that will amount to a series of unfortunate mistakes to the cops and keep the blood off of Becket’s hands. Despite its darkly comic tone, there are plenty of genuinely tense moments that add weight to the escalating chaos. Beneath the surface, the story toys with commentary on aristocracy and privilege, playing with the “eat the rich” concept that questions society.

It’s not the sharpest satire in the genre, but it does attempt to play around with morality in interesting ways. It also asks who truly deserves sympathy when greed and entitlement collide. In fact, the film works because the rich people that Becket is killing are all the worst stereotypes of rich nepo babies, and the film reinforces that over and over. It taps into the lack of care many of us have when a billionaire dies, and the anger we have when people whose only accomplishment in life was to be born continuously fail upward.

It’s hard to hate Becket because he’s only taking what is owed to his mother, and more importantly, they’re just vapid rich people. In the end, this isn’t just a film about murder. It’s a sharp look at morality, ambition, and just how far someone might go to claim what they think they deserve, even if they haven’t exactly earned it. While the film may not add much to the sub-genre, it is entertaining enough to make the ride worthwhile.

A big reason for that is Glen Powell‘s pitch-perfect performance. The role fits squarely within his wheelhouse: a charming lead with a hidden edge. Powell brings his signature grin and charisma, and expertly juggles the film’s comedy and thriller tones, making Becket likable even when he shouldn’t be.

He is equally well supported by the endlessly adorable Jessica Henwick and Margaret Qualley’s chaotic and calculated turn, who manages to be deliciously sinister in a handful of moments. In other roles, Bill Camp, Topher Grace, Zach Woods, Raff Law, Bianca Amato and Ed Harris ensure that Redfellows are all interesting in their own ways. On the whole, ‘How to Make a Killing‘ is fun dark comedy buoyed by Glen Powell’s star power