The Capitalist Game: Where Satire Meets Vanity
There’s something almost ritualistic about cinema’s persistent fascination with the extravagances and moral rot of the upper class. From Jean Renoir’s The Rules of the Game to Bong Joon-ho’s globally lauded Parasite, Hollywood and world cinema have turned the struggles—and follies—of the wealthy into elegant, cutting entertainment. John Patton Ford’s latest entry, How to Make a Killing, steps into this arena, aiming for a stylish skewering of the billionaire set. But in a crowded landscape of sharp-tongued capitalist critiques, does it land a decisive blow or simply circle the same tired targets?
A Familiar Premise With Duller Teeth
Starring Glen Powell as Beckett Redfellow, the film introduces audiences to a would-be heir of an ultra-rich dynasty. Beckett’s upbringing—a product of both estrangement from his elite kin and relentless struggle alongside a devoted mother—should, on paper, set the stage for a rich psychological powder keg. Instead, Ford’s script gives us a protagonist more echo than enigma. The setup: Beckett, upon his mother’s death, learns he’s seventh in line for a multi-billion fortune. The twist? If he outlives seven distant relations, it’s his. He crosses paths with Julia (Margaret Qualley), a spectral childhood flame whose vague encouragement seems to ignite Beckett’s drastic ambitions.
Death Row Confessions and Narrative Flatlines
Using the device of present-day Beckett confessing his deeds from death row, How to Make a Killing attempts a grand flashback structure. The choice could have cranked up the suspense, but instead, it drains the narrative of tension. There’s little room to wonder who will survive—every beat feels predestined. Rather than subverting expectations, the film treads familiar ground with predictably signposted twists.
Cast and Performances: Stars Underused, Charisma Undercut
Glen Powell, often celebrated for his effortless charm, struggles here to elevate the material. His Beckett is written as blue-collar, hard-knocks offspring of privilege, but the script never allows the character’s desperation—or his transformation—into something dark or memorable. Margaret Qualley’s Julia serves as more of a plot trigger than a true accomplice, reappearing only when the narrative requires her. Zach Woods brings a surreal flair as a rich oddball aspiring to Warhol status, injecting brief life into otherwise predictable comedic beats. Jessica Henwick works with an underdeveloped role as Ruth, a fashion designer improbably paired with Beckett despite misaligned worlds and sparsely sketched motivations.
Satire That Pulls Its Punches
The film gestures at themes of nepotism, toxic legacy, and the emptiness of inherited wealth but never adds new polish to these ideas. Attempts at black comedy often feel defanged—broadcasted jokes land with inertia, and the escalating darkness never feels earned. If Ford intended a modern American Psycho, Beckett never gets close to Bateman’s chilling contradiction. Skill, ruthlessness, or psychological complexity never fully materialize; Beckett seems to evolve from nervous suit salesman to poison-wielding predator overnight—with neither struggle nor credible descent.
Saturated Market, Soft Impact
In today’s ecosystem, where dark comedies about the super-rich churn out at a regular clip, How to Make a Killing struggles to stand tall. Its aesthetic gestures toward high society and murder-mystery cool but comes away feeling a touch too pedestrian. It wants to be both satirical and sincere, but winds up watered down in both regards. The pacing is languid and the stakes, supposedly mortal, never gain momentum beyond a shrug.
Release Details and Viewing Experience
How to Make a Killing is set for a wide theatrical release and clocks in at 108 minutes. With its moody visuals and character-driven premise, many will be drawn in by the strong cast and the promise of social critique. Yet, those seeking sharp wit, genuine edge, or a fresh take on class warfare dramas may leave the theater feeling underwhelmed, longing for the knowing venom of its more subversive cinematic siblings.
