“How to Make a Killing” follows Becket Redfellow, who will stop at nothing to reclaim his inheritance after his wealthy family disowns him at birth.

Premise Without Payoff

The film tries to be everything at once: crime thriller, comedy, drama, romance. It touches nearly every genre. Yet stands out in none of them.

Writer-director John Patton Ford builds an intriguing premise. But he never pushes it beyond the surface. His script plays everything too safe, offering minimal surprises and no real momentum.

As a crime thriller, “How to Make a Killing” falls flat. The investigation storyline feels forced, with supporting characters popping up exactly when the plot needs them. Becket’s master plan comes across as ill-conceived and lackadaisical. Not a single sequence separates it from better entries in the genre.

The film leans hardest into comedy. At times, it works. But once again, it refuses to fully commit. Jokes fizzle out before they land, leaving behind an off-balance tone that never quite resonates.

The drama and romance fare no better. Both are rushed. The film asks viewers to root for a man who is, technically, a serial killer. Glen Powell’s charm makes that easier than it should be. Still, the script gives no meaningful reason to invest.

The story gestures toward themes of wealth disparity, greed and desperation. Yet those ideas play as cheesy rather than substantive.

Performances Doing Heavy Lifting

Powell (Becket) shoulders much of the film’s weight. The role fits squarely within his wheelhouse: a charming lead with a hidden edge. Powell brings his signature grin and charisma, making Becket likable even when he shouldn’t be.

This is a serviceable performance. It doesn’t allow Powell to stretch, however, and it certainly cannot rescue a weak script.

Margaret Qualley (Julia) also appears in “How to Make a Killing.” Whether she needs to is another question. Qualley delivers her familiar energy, but it feels misplaced here. Her character enters and exits when convenient, functioning more as plot armor than as a fully realized person.

Rounding out the supporting cast are Jessica Henwick (Ruth), Bill Camp (Warren), Zach Woods (Noah) and Ed Harris (Whitelaw).

Slick Style, Uneven Structure

Pacing becomes another major issue. At 105 minutes, “How to Make a Killing” feels both sluggish and rushed. Long stretches pass where nothing meaningful happens. Then the film abruptly skips over character motivations and development that actually matter.

Much of that stems from the structure. The movie relies heavily on Becket’s narration, choosing to tell instead of show. It spells out themes and intentions rather than allowing viewers to interpret them.

Director of photography Todd Banhazl gives the film a slick look. The camera tracks characters closely, creating a sense of intimacy while maintaining a glossy, high-class sheen.

Visually, the film has confidence. Narratively, it does not.

“How to Make a Killing” boasts a strong premise, but never becomes a strong movie. Its messaging gets lost beneath underdeveloped characters and clashing identities.

Rating: 2 out of 5