Say what you will about Hollywood trying to make Glen Powell a thing…it’s working on me.
How To Make A Killing
Starring Glen Powell, Margaret Qualley, Jessica Henwick, Ed Harris
Directed by John Patton Ford
Runtime: 1 hour, 45 minutes
Synopsis
After growing up with his single mother, who was disowned from her family and their considerable fortune, Becket Redfellow (Powell) determines to acquire the family trust for himself, by any means necessary.
Built On Glen Powell’s Chin
As the lead character and narrator of the tale (film relies heavily on his narration to connect and drive the scenes), I can see this film immediately being a turn off for some moviegoers. Like Edgar Wright’s Running Man (2025), where Powell was the leading man, you either enjoy Powell currently or have some hatred for him because Hollywood is, to quote Mean Girls (2004), “trying to make him a thing,” and most of us would like for them to stop.
But here’s the rub, my filmgoing faithful…it’s working on me.
I know, I know. He fits the typical All-American, green-eyed, dirty blond-hair mold, with a shit-eating grin, and has already tackled multiple roles that feed off that idea:
- a small, early part as an arrogant Gotham stockbroker in The Dark Knight Rises (2012)
- played NASA astronaut John Glenn in Hidden Figures (2016)
- Too many rom-com appearances to count
- Played Hangman, or rather, the modern-day version of Val Kilmer’s Iceman in Top Gun: Maverick (2022)
Yet, these roles work because he’s actually likeable, a mischievous scamp if you will. If Powell wasn’t, his adversarial relationship with Rooster (played by Miles Teller) wouldn’t work in Maverick, it would fall flat immediately. His short but effective electricity with Taraji P Henson (playing NASA mathematician Katherine Goble) in Figures also relies on that type of connection. It’s a large part of why he’s capable of jumping into sillier roles without impacting that rigid jaw line. Whether it’s star-quarterback-turned-goofy-backup in the Hulu series Chad Powers (2025-present) or playing a fake assassin in Hit Man (2023), Powell is developing a knack for moving between typical action-laden roles and lovable, goofy Jon Hamm in 30 Rock-type roles.
Credit: A24
In Killing, Powell’s performance on screen as Becket is pretty subdued, but his narration is where the movie really shines, finding a great comedic tone / energy. If you can imagine Ferris Bueller’s Day Off (1986) with more narration, tons of murder, and less fourth-wall breaks, that sums up Powell’s embodiment pretty well. It’s not that Becket does nothing on-screen, but his narration between past and present-day scenes are the strongest moments for his character, while the other cast members, like Qualley or Harris tend to shine more (opposite him in the flashbacks). This dynamic works really well because the present-day Becket is looser and more animated in reflecting on his crimes, while his past version is tenser and in his own head as he commits each murder. It allows us to hear what his character is thinking without disrupting the flow of the murder and sets up some great comedic bits through and through.
Oddfellows
It’s strange that people don’t believe Margaret Qualley is being pushed on them in the same way Powell is, but she may face more issues regarding nepotism, so perhaps that balances it out. Regardless of how you feel about the offspring of 1990s great Andie MacDowell, she clearly has talent that is being proven with hits like 2024’s Oscar-nominated sci-fi flick The Substance, where she starred opposite Demi Moore as the character’s younger self.
Credit: A24
She’s also had a miss or two as well, like Honey Don’t (2025) but all-in-all, Qualley is acquitting herself well with each new project. In Killing, she plays the high societal vulture Julia to perfection, exuding sexual confidence while finding ways to undermine Becket and frustrate the audience along the way. If you came away from their movie loathing her character’s role as the foil, then she did her job incredibly well.
Check out our review of another Margaret Qualley project in Drive Away Dolls
Jessica Henwick is certainly not being “pushed” by Hollywood, but she really should be. Her performances – whether in Iron Fist (2017-2018), The Matrix Resurrections (2021), Glass Onion: A Knives Out Mystery (2022), or The Royal Hotel (2023) – are supremely underrated. Henwick plays Becket’s eventual wife, Ruth, and her chemistry with Powell works very well. While I would have loved more time with her, I realize – given the story’s structure – that wouldn’t have made sense.
Credit: A24
In fairness, everyone has limited screen time, even the great Ed Harris only shows up twice in the film. Once you’ve settled into the flow of the killings, it makes sense, but if you walk in expecting a long, drawn-out estate battle between several family members and Becket, that’s not the style director John Patton Ford was aiming for.
Ford’s Sophomore Impression
John Patton Ford, not to be confused with that other Ford, came onto the scene with the 2022 film Emily the Criminal, which starred Aubrey Plaza as a desperate artist who gets entangled with a fraud ring. Emily displayed a ton of promise for Ford, as both director and writer, tackling the idea of crippling debt and what it might push you to do. It also provided Plaza a platform to create further distance from her Parks and Rec (2009-2015) role, firmly establishing her ability to excel in dramatic roles. Together, this created a superb crime drama that showed Ford’s potential for creating and exploiting intense, emotional moments.
Ford’s follow-up in Killing marks only a slight departure, as it serves as his first adaptation (rather than original script) and dips into more comedic elements. This film serves as a partial remake / inspiration from the British black comedy Kind Hearts and Coronets (1949), which featured Sir Alec Guinness in multiple roles as members of the rich D’Ascoyne family (reimagined as the Redfellows in Killing). While it definitely plays with black comedy elements, it strikes a much lighter tone than, say, recent Yorgos Lanthimos’ dark comedies in Poor Things (2023) or Bugonia (2025).
The comedic tempo plays much closer to say a Rian Johnson Knives Out movie, where a genuine sweet moment may smash cut to another death and narration from Powell. The whiplash is intentional and hilarious, which elicited plenty of deep laughs from my early screening audience.
Conclusion / Recommendation
John Patton Ford’s second directorial debut is a slight departure from the stylings of his first film, but retains the same level of excellence and more as he taps into a comedic bent. Partnering with rising stars in Powell, Qualley, and Henwick while effectively utilizing his veteran talent doses creates a satisfyingly fun murder romp that will be a classic for years to come.
If you can, I definitely recommend checking it out this weekend! My screening with an audience was amazing and made the smash-cut comedic moments even better.
Remember: if you’re an A24 member, you get a free ticket on opening weekend (if available in your area), so don’t forget to utilize that if you can.
Score: 8.5 out of 10
- The Family Slayer- 8.5
- Glen Powell kills it as the narrator and driving force of the film, he’s not overly charismatic or emotive comedically and that works well for the film’s style.
- Comedic Values- 8
- If you love Knives Out‘s comedic timing, you’ll likely love the way Ford moves this film along and while it’s not side-splittingly fun every moment, the key jokes are well executed when they hit.
- Fortune of Talent- 9
- For an ensemble cast, Ford has assembled a great crew that utilizes their limited time and moments well.
Check Us Out On Patreon
Love Nerd Union? Consider supporting us over on Patreon. You’ll get access to early access articles, commercial-free video essays, online discussions and more. Plus, you will be directly responsible for supporting journalism in a field that’s currently being overwhelmed by clickbait focused sites. Supporting us keeps the lights on but it also sets a standard to sites in our field about fair wage practices, citing sources, debunking unconfirmed sources, and helps us investigate stories better.
About Author
