How To Make A Killing
Film
At this point, it is abundantly clear that writer/director John Patton Ford has a seething hatred for the ultra-wealthy and capitalism. If that didn't come off as a gimme after his debut film, Emily the Criminal, well, then it's certain to be blatant in his latest film, How to Make a Killing. Set up as a dark comedy, crime caper, Ford's film follows Becket Redfellow (Glen Powell), whose conception out of wedlock from his heiress mother (Nell Williams) and her subsequent refusal to get an abortion finds her kicked out of her family's estate by the cold, brooding father (Ed Harris). Becket's mother, however, strives to enrich his life with a wealth of experiences rather than money. When she sadly passes, her final words are seared into Becket's brain, beckoning him to never give up until he leads the life he was meant to. Which brings us to Ford's reimagining of Kind Hearts and Coronets, where Becket must murder his 7 family members ahead of him in the family will in order to receive his full inheritance. It's a set-up for a fresh take on a classic film that could pay massive dividends, pun intended. Yet, Ford doesn't dial up the style at all, which leads to a squandered cast and story.
On the positive side, Ford does take his adaptation of the classic British film quite seriously, taking the essential storytelling aspects and revitalizing them for modern times. Powell's Becket opens up the film on death row, where he regales his entire life story to the prison priest, which is a mirror image of Dennis Price's Louis in the 1949 film. The narration of the film keeps it moving at a brisk pace and provides some strong comedic moments that keep the dark humor fresh and fun. However, Ford's story can be incredibly frustrating at times, playing it too safe. Powell's effortless charm and charisma are barely utilized, and his narration often fails to expound on the intricacy of his murders, omitting any sort of style or panache. Which, when Becket is hesitant to begin his homicidal descent and then suddenly becomes Jason Bourne, the audience is left behind, in the dust. The worst part of it all is that the murders are incredibly entertaining, as dark as it sounds. They appear to be solid plans, the planning of which we never see outside of a baseball-cap-wearing Powell doing some reconnaissance, but without knowing how we got from A to B, B is ultimately kind of dull.
That being said, Ford does know how to stoke the flames of tension, creating a slow boil throughout the film that yields an entertaining climax. Using complete opposite love interests like Ruth (Jessica Henwick), the ex-lover of one of Becket's cousins/victims (a tremendously fun cameo by Zach Woods), who is one of the few people in the film that actually listens to their conscience and has a moral compass. Along with Julia (Margaret Qualley), a childhood crush that reemerges with her own finances going down the drain and looks to be engaging in her own nefarious schemes, the duality of Becket's romantic life and their influences on his morality creates a tense environment. What does Julia know that Ruth doesn't? And of course, the thesis of Ford's ultra-wealthy takedown piece, how much is enough? Becket's internal struggle to value love, let alone the type of love, is a welcome layer to an otherwise bland film. Avenging his mother, rekindling his childhood crush, or exploring his very real love with Ruth, even with billions in inheritance, it might not be possible to have it all.
Given the potential for interesting sleuthing scenes with Becket investigating his "targets", I was hoping for at least a little bit of the gonzo energy seen in Richard Linklater's Hit Man. Linklater tapped into a much more whimsical Powell, emboldening him with outrageous costumes, wigs, and accents, which, of course, offered a different tone than Ford's film. But still, the dark humor within the film provides ample space for more flair, especially in the margins of Becket's schemes, which we never see.
All things considered, however, How to Make a Killing had just enough to keep me intrigued. With its twisting moral complexities and frustrating character decisions, the core plot, along with Powell's performance, is still enjoyable to watch. The depraved nature of the cousins, again thanks to great cameos by Woods and Topher Grace, adds to Ford's satirical take on the corruption of wealth, which is more muddled than desired. Ford's bleak ending is unfortunately overwrought with symbolism that was missing the entire time. Avoiding spoilers, but to end on a heavy-handed metaphor on the shackles of riches and abandonment of morality when Becket opens the film yelling about money buying happiness feels a bit off. If you're going to say something about the insidiousness of wealth, then stick by it. The nebulous mix of moral complexity and wealth (what is enough) lingers in the mind, but when the credits roll, you're still waiting for the main course.
Froth
It's gotten a lot frostier in Seattle lately, so naturally, I beat the weather by heading down to Portland for the annual Film & Froth Best Picture Brewery Crawl (TM). Yes, I know we need a shorter name, and yes I know Portland was an excellent choice because the beer was incredible. Plus, given Ford's dark humor in How to Make a Killing, along with the chilly weather it felt right to pair this film with a delicious stout from Evasion Brewing. The Feel Like a Nut stout is a whopping 8% ABV, a heavy hitter by all measures, but you would never guess it after the first sip. And the second, third, fourth, you get the idea here. It is a sumptious beverage that is undeniably delectable. There's a nutty warmth alongside the roasted aroma, along with a pinch of coconut to accent the chocolate sweetness. The bartender at Evasion, shout out to Joy, compared the stout to an Almond Joy which I know can ruffle some feathers but it is much more subdued in its flavors. It isn't overly sweet or boozy, instead maintaining a strong balance of flavors with a medium body that makes for a smooth and delightfully warming treat during these colder weeks.
