Goodbye heartthrob rom-com energy, hello slick leading-man swagger. Glen Powell levels up again in “How to Make a Killing,” a confident dark comedy that leans into his evolving movie-star persona. Directed by John Patton Ford, the film blends classic noir influences with modern satire, delivering a glossy, entertaining ride that showcases Powell’s growing range.
Powell stars as Becket Redfellow, a disinherited outsider determined to claw his way back into a powerful, wealthy family that has left him behind. What begins as a calculated plan to reclaim status quickly turns into a twisted game of ambition, deception and survival. The premise recalls classics like “Kind Hearts and Coronets” and “The Ladykillers,” yet Ford keeps the pacing modern, letting the humor land without losing suspense.
From the opening scenes, Powell commands attention with breezy narration that channels a vintage crime feel while maintaining a playful edge. His performance is equal parts charm and mischief, allowing audiences to root for a character who makes increasingly questionable choices. It’s a role that requires a strong sense of charisma, and Powell delivers with an easy confidence that anchors the entire film.
The supporting cast adds depth without pulling focus from the central performance. Margaret Qualley brings sharp wit and unpredictability, creating a dynamic energy whenever she shares the screen with Powell.
Jessica Henwick offers a more grounded presence, giving the movie emotional balance amid its stylized chaos. Even the smaller roles feel purposeful, with cameos from Ed Harris and Topher Grace contributing to a world that feels exaggerated yet believable.
Visually, “How to Make a Killing” stands out for its polished aesthetic. Ford leans into moody lighting and sleek compositions that evoke classic crime thrillers, while quick edits and a brisk pace keep the narrative moving forward.
The cinematography embraces a glossy look that matches the film’s themes of wealth and excess, and the jazzy, playful score reinforces its dark-comedy tone without overpowering the story.
What makes the movie particularly enjoyable is its sense of fun. Rather than leaning too heavily into cynicism, the screenplay allows humor to emerge naturally from the absurdity of Becket’s situation.
The satire surrounding privilege and social status is present but never heavy-handed, giving audiences space to enjoy the twists without feeling lectured. Ford demonstrates a clear understanding of tone, shifting smoothly between suspense and comedy without losing momentum.
That balance is one of the film’s greatest strengths. The story moves quickly, rarely lingering long enough for its darker moments to feel oppressive.
While a few supporting characters — particularly Becket’s wealthy relatives and would-be allies — shift loyalties a little too conveniently to keep the plot moving, the movie’s sharp humor, stylish momentum and Powell’s magnetic performance make those narrative shortcuts easy to forgive.
It’s a movie that knows exactly what it wants to be — stylish, witty and driven by personality.
Perhaps the film’s biggest achievement is how it cements Powell’s transition into full-fledged leading-man territory. His ability to blend humor with intensity gives the character an unpredictable edge, and he navigates the film’s tonal shifts with ease.
“How to Make a Killing” may not reinvent the dark-comedy genre, but it delivers a confident, entertaining showcase for a star clearly settling into his stride — equal parts charm, mischief and movie-star control.
Contact Aaliyah Evertz at aevertz@alligator.org. Follow her on X @aaliyahevertz1.
Aaliyah is a second-year journalism student in her second semester at the Alligator. She is the Avenue's spring 2026 entertainment reporter. In her free time, she enjoys reading and baking.
