The latest black-comedy remake, “How to Make a Killing,” struggles to capture the charm of its predecessor, “Kind Hearts and Coronets.” The original, directed by Robert Hamer in 1949, is a classic that revolves around a young man determined to claim his family’s inheritance by eliminating the relatives who stand in his way. Notably, all the roles of the murdered family members were portrayed by Alec Guinness, allowing for a delightful exploration of familial resemblance and the protagonist’s outsider status.
In the late 1990s, Mike Nichols proposed a remake featuring Will Smith as the lead and Robin Williams as his victims. This concept, which could have offered a fresh perspective on themes of revenge and race, never materialized. Now, “How to Make a Killing” emerges as an unofficial remake, stripping away the racial dynamics and featuring a different cast to portray the fallen relatives. This alteration diminishes the original’s cleverness, resulting in a film that feels shallow, with much of the entertainment stemming from Glen Powell’s portrayal of a charming yet psychopathic killer.
Powell plays Becket Redfellow, a scion of one of America’s wealthiest families. His life takes a dark turn when his grandfather (Ed Harris) disinherits his mother (Nell Williams) for choosing to have him instead of terminating the pregnancy. Following his mother’s death from illness, Becket learns that he can inherit the family’s $28 billion fortune only if he eliminates seven relatives. He begins targeting his younger kin before ultimately planning to confront his grandfather. However, the narrative takes a twist as Becket finds himself confessing his crimes to a priest while on death row for a murder he did not commit.
Those familiar with the original film will find little surprise in the unfolding plot. The film’s enjoyment hinges on the characterization of the victims, which fails to deliver memorable or humorous figures. There are some standout moments, particularly with Zach Woods as a pretentious art photographer who labels himself “White Basquiat,” and Topher Grace as a megachurch pastor who mistakenly confronts Becket, believing him to be a journalist exposing his misdeeds. The more detestable the victims, the more satisfaction audiences glean from Becket’s plans to eliminate them. Powell’s understated reactions to these wealthy characters provide some comedic relief, even if his various disguises lack the creativity seen in other films.
However, the film falters in its exploration of the love triangle involving Becket, his childhood sweetheart (Margaret Qualley), and White Basquiat’s ex-girlfriend (Jessica Henwick). Henwick’s portrayal of the virtuous woman comes off as bland, especially in contrast to Qualley’s more dynamic performance as a seductive character who hides her true nature. Qualley certainly brings visual appeal to her role, but the film does not maximize the potential of its romantic subplot.
John Patton Ford, who made a notable directorial debut with “Emily the Criminal,” struggles to replicate that success here. Both the murder plot and action sequences lack the finesse of his previous work, even as the grandfather turns the tables on Becket in a dramatic confrontation. Unaccountably, Ford diminishes the original film’s theme of class conflict, leaving “How to Make a Killing” with only minor charms and a lingering sense of unrealized potential.
How to Make a Killing
Starring Glen Powell and Margaret Qualley. Written and directed by John Patton Ford. Rated R.
