How to Make a Killing

Disowned before he ever had a chance to belong, Becket Redfellow (Glen Powell) has spent his life watching the obscene wealth of his family from the outside—an empire of old money, polished cruelty, and inherited power that never made room for him. When a death in the family suddenly reopens the question of succession, Becket realizes that billions of dollars now sit at the end of a bloodline crowded with cousins, uncles, and patriarchs who all assume their place is untouchable. For the first time, the distance between him and everything he was denied begins to look terrifyingly small.

What follows is a sleek, venomous spiral of reinvention, deception, and increasingly elaborate acts of violence, as Becket quietly begins removing each obstacle between himself and the inheritance he believes should have been his from the start. Powell plays Becket with a grin that never fully reveals whether he is improvising, unraveling, or already several moves ahead, while Margaret Qualley and Ed Harris orbit the story like competing ghosts of desire and authority. Written and directed by John Patton Ford, the film turns class resentment into a deadpan fever dream—where designer interiors, family rituals, and whispered betrayals become part of the machinery of murder.

Darkly funny, sharply composed, and carried by an unmistakable air of A24 menace, How to Make a Killing unfolds like a morality tale for an age where inheritance feels more mythic than justice: a story in which ambition is seductive, guilt is negotiable, and every carefully staged death feels less shocking than the wealth waiting on the other side.