Most people walking into How to Make a Killing probably won’t realize it traces back to the wicked British classic Kind Hearts and Coronets. It’s more like a modern remix that swaps aristocratic politeness for glossy capitalism and influencer-era ambition. The story still revolves around a charming murderer trying to eliminate relatives standing between him and a fortune. But this version is louder, faster, and way more interested in poking fun at modern wealth culture than in the icy precision that made the original so legendary.

Glen Powell makes the chaos fun to watch

The biggest reason the film works is Glen Powell. He plays Becket Redfellow with a smooth, almost mischievous confidence that makes you root for him even when you absolutely shouldn’t. There’s something entertaining about how casually Becket decides murder is just another career move. Powell keeps the film moving with a sense of playful calculation. You can almost see Becket thinking in real time weighing options, plotting, improvising and that energy makes even the weaker moments feel watchable.

Margaret Qualley steals every scene she’s in

While Powell carries the film, Margaret Qualley is the one who electrifies it. Her character Julia is chaotic, seductive, and completely driven by ambition. Qualley plays her with this sharp unpredictability that makes every appearance feel like the movie just woke up. The supporting cast adds texture too. Jessica Henwick brings warmth, Ed Harris adds old-money menace, and small but memorable turns from Bill Camp and Topher Grace lean into the film’s darkly comedic tone.

The takeaway

In the end, How to Make a Killing feels like a stylish, dark comedy that’s more fun than profound. It doesn’t capture the razor-sharp elegance of Kind Hearts and Coronets, but it offers its own modern charm glossy visuals, charismatic performances, and a playful look at how far someone might go for money.