New Release Review - HOW TO MAKE A KILLING

Key Takeaways

• Film adapts 1907 novel, modern New York setting.
• Black comedy tone fails to land, thriller elements weak.
• Glen Powell leads; Topher Grace standout as con‑man pastor.
• Romance subplot offers rare raw passion moment.
• Released UK/ROI cinemas March 11, 2024.

Summary

John Patton Ford’s second feature, *How to Make a Killing*, reimagines Roy Horniman’s 1907 novel in contemporary New York, starring Glen Powell, Margaret Qualley and an ensemble cast. The film attempts a black‑comedy crime thriller but falls short on both humor and tension, with a predictable plot and under‑developed murders. Powell’s performance is serviceable, while Topher Grace’s con‑man pastor and the chemistry between Powell and Jessica Henwick provide the only memorable moments. The movie opens in UK and ROI cinemas on March 11, 2024.

Pulse Analysis

John Patton Ford entered the spotlight with the gritty crime drama *Emily the Criminal*, setting high expectations for his follow‑up. *How to Make a Killing* draws from the early‑20th‑century novel *Israel Rank*, swapping the original British aristocracy for a New York family dynasty. This shift reflects a broader trend of re‑contextualizing classic narratives for urban audiences, yet the film’s execution reveals the challenges of preserving the source’s satirical edge while delivering contemporary thrills. By anchoring the story in a modern financial hub, the director hoped to attract both genre fans and literary enthusiasts.

The movie’s tonal ambition—mixing black comedy with a serial‑killer thriller—ultimately feels uneven. While Glen Powell attempts to inject charm into the anti‑hero Becket Redfellow, the script offers little suspense, and the murders unfold with implausible ease. Topher Grace’s portrayal of a con‑man pastor stands out, providing a rare flash of dark humor that the rest of the cast struggles to match. Margaret Qualley’s femme‑fatale appears too late to impact the narrative, and the supporting FBI investigators remain peripheral, underscoring a broader issue of under‑developed secondary characters.

From a market perspective, the March 11 UK/ROI release positions the film as a modest indie offering amid a crowded slate of streaming debuts. Its mixed critical reception could temper audience enthusiasm, influencing distributors’ willingness to back similar literary‑based crime projects. Nevertheless, the film’s occasional moments of raw romance and its ensemble talent showcase potential pathways for future adaptations that balance satire, suspense, and character depth, a formula that could revitalize the indie crime‑thriller niche if executed with tighter storytelling.