By Gabriel Payne
What would you do for twenty-eight billion dollars? Or rather, what wouldn’t you do? Is there any length that is too far to go for a life-altering, generationally impacting amount of money? Some people would lie to achieve such wealth. Some would cheat. Some would steal. Some would even kill seven of their distant family members.
At least, Becket Redfellow would. Ever since he was a child, Becket was told of the famed Redfellow family fortune that he was in line to receive one day—once the seven Redfellows older than him were out of the picture of course. Becket’s mother was exiled from the family due to a pregnancy out of wedlock. She made sure Becket knew he deserved a better life than the hand he was dealt and that nothing should stop him from achieving that.
John Patton Ford’s “How to Make a Killing” details Becket’s ruthless attempt to secure the Redfellow family fortune. He stops at nothing to achieve the “life that he deserves,” literally at the cost of the lives of his family members.
Glen Powell’s performance as Becket brings classically charismatic leading man energy from start to finish, even when he is narrating off screen. His supporting cast was just as impressive, with each character adding something uniquely entertaining to the story. Jessica Henwick as Ruth Redfellow, Ed Harris as Whitelaw Redfellow and Topher Grace as Steven Redfellow, are three large standouts who create characters that enhance every scene they appear in.
Margaret Qualley’s character Julia Steinway is stunted by mostly poor writing choices and a noticeably dry delivery of lines that drags down the surrounding scenes. Many of the significant moments that she was involved in were seemingly forced for the sake of a story that frankly didn’t need her in it. Aside from this, the performances were well casted and impressive.
This central theme of this film explored the effect that money has on the soul. Not only Becket, but every character in the story is ultimately driven by money. Some seek power, some seek comfort and others security. Despite their different motivations, this hollow pursuit eventually leads every character to the same place: dissatisfaction.
The conclusion of the film elegantly puts the final nail in the coffin of its point through Becket’s narrator dialogue. He says, “The only thing that hurts us in life is our conscience telling us a story about right and wrong,” going on to explain that the true path to happiness lies in learning to ignore that voice.
However, despite his seeming confidence in the decisions he made in pursuit of wealth and “happiness,” the film clearly sends a different message through the cinematography and writing of the final scene. Becket is telling a lie, not just to the audience, but to himself. By forfeiting his conscience, he forfeits true joy and satisfaction.
The progression and writing of this film is highly unique, but its point is clear. To give up your soul, your conscience and identity for the sake of wealth will never bear reward. In the pursuit of happiness that can only ever be temporary, you sacrifice what might truly last.
Overall, this film is an enjoyable experience. The story keeps the audience engaged from start to finish, the cast puts on a respectable performance and it has great things to say about the nature of true joy and satisfaction. The greatest handicap on the film is some of the story choices that interrupt the overall flow and add little benefit to its progression, as well as a subpar performance from Margaret Qualley. All in all this is a classic A24 quality production and I would rate it a solid 7/10.
“How to Make a Killing” is currently playing in theatres
Gabriel Payne is a junior Mechanical Engineering major whose greatest passion in life is glorifying the Lord, followed closely by some good soul food.
Pictures courtesy of Blueprint Pictures and StudioCanal
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