How to Make a Killing Feature Scores
Explore all 45 feature scores for How to Make a Killing, organized into pros and cons.
Scores by Feature
Summary
45 reviewed features-
Very positive 4.5-5.05 (11%)
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Positive 3.5-4.418 (40%)
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Neutral 2.5-3.418 (40%)
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Negative 1.5-2.44 (9%)
Pros
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The cast is one of the film’s steadier strengths, with many viewers praising the ensemble even when the material around them feels uneven.
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The film’s slick, colorful, polished look is a regular positive, even among critics who think the style never fully coheres with the tone.
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The polished, grainy photography is widely admired, with several critics singling out the lighting, texture, and camera work.
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Audience reactions lean warmer than the critic consensus, with many calling it watchable, fun, or worth seeing even when imperfect.
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Glen Powell is the clearest consensus strength, repeatedly praised for charisma and likability even by critics who think he is miscast or too mild.
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It works best for viewers who accept it as a light dark-comedy thriller; critics wanting sharper farce or tougher suspense are often disappointed.
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The supporting ensemble is frequently praised, especially Zach Woods, Bill Camp, Topher Grace, Jessica Henwick, and Margaret Qualley, despite limited screen time.
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The wealthy settings and glossy surfaces help sell the Redfellows’ world, giving the movie a convincingly lavish presentation.
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Wardrobe choices add polish and noir flavor, especially Julia’s fashion, though one critic wished the film did more with its costume possibilities.
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The roughly 100–110 minute length is usually manageable, though some feel the film either drags or needs more time to develop its crowded cast.
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The comedy is inconsistent. Some scenes and supporting performances draw real laughs, but many critics say the film never becomes funny enough.
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John Patton Ford draws praise for visual control and some set-pieces, yet several critics fault his tonal decisions and handling of the remake.
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The script has clever ideas and occasional sharp scenes, but exposition, thin characterization, and underdeveloped themes keep it from fully landing.
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The inheritance-murder premise has obvious appeal, but opinions split on whether the story remains engaging or becomes repetitive and implausible.
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The murder set-pieces can be brisk, clever, and tense, but several critics found later deaths too throwaway or lacking in impact.
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Emile Mosseri’s score is a notable craft strength, praised for giving the movie momentum and a distinctive propulsive texture.
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The film finds occasional gravitas, especially late, but many critics say its serious dramatic side never earns enough emotional investment.
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One customer approvingly notes that there is no sex, helping make the film feel less explicit than its R-rated premise suggests.
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Chemistry varies by pairing. Becket and Ruth earn some warm praise, while other romantic dynamics are described as forced or unconvincing.
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A customer specifically praised the relatively restrained language, viewing it as a point in favor of teen suitability.
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One critic broadly praised how strong the film looks and sounds, though sound-specific commentary is otherwise scarce.
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One customer considered the restrained sex and language suitable for younger teens, despite the movie’s murder-heavy premise.
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One customer felt the restrained sexual content and language made it more teen-suitable than the premise might suggest.
Cons
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Plausibility is one of the sharpest recurring complaints, especially around the FBI, forensic gaps, and how easily Becket gets away with repeated murders.
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Tone is one of the most repeated weaknesses, with the movie often described as caught between farce, noir, thriller, and moral drama.
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The film’s polish and some modern touches are appreciated, yet its remake roots and familiar eat-the-rich ideas make originality a major weakness.
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Character depth is a recurring weakness: Becket’s motives and several supporting players are often described as thin, rushed, or underwritten.
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The modern reworking of Kind Hearts and Coronets divides critics, with a few admiring the update but many finding it far weaker than its inspiration.
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The confession structure helps some viewers follow the story, but others find the narration cumbersome and the timeline or logic needlessly confusing.
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The class-and-greed commentary sometimes resonates, but a common criticism is that the satire stays obvious, shallow, or less incisive than it promises.
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Repeat appeal looks limited overall: a few viewers would watch again, but others explicitly call it forgettable or a one-time watch.
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A few critics argue that protracted or loosely shaped passages sap momentum and blunt the film’s comic-thriller rhythm.
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One video review found the song choices overused, arguing that the film leans on too many needle drops.
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The violence is generally restrained rather than graphic; some appreciate the wry approach, while others wanted more bite from the murder set-pieces.
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A few quips and bits of repartee land, but narration-heavy exposition and a shortage of sharper wit are frequent complaints.
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The Ruth relationship provides warmth and a moral counterweight, but several critics find the romance too thin, perfunctory, or underdeveloped.
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There are isolated moments of genuine feeling, but much of the film is described as emotionally distant, hollow, or hard to invest in.
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Customers often find the murder-inheritance setup fun or fresh, while critics repeatedly point out how closely it echoes earlier films and familiar genre beats.
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Early reactions were reported as positive, but the broader critical response represented here is substantially more divided and often cool.
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The framing device and predictability often weaken suspense, though several viewers still enjoy the late-game tension and third-act escalation.
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The film raises worthwhile questions about greed, class, contentment, and entitlement, but many critics say it stops short of exploring them deeply.
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Pacing is uneven across the set. Some call it brisk and fleet-footed, while others find the middle repetitive, sluggish, or poorly proportioned.
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Value reactions are polarized: some customers felt rentals were worthwhile, while others explicitly wanted a refund or said it was not worth paying for.
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Reactions are mixed overall. Many customers found it fun and easy to watch, while a large share of critics called it dull, forgettable, or underwhelming.
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The ending is sharply divisive: some viewers love the twists and coda, while others find the resolution contrived or unsatisfying.
Cast & Creators
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Julia SteinwayQualley brings sharp femme-fatale energy and often gives the film a jolt of personality. Several critics wish the script gave her more room, with some calling the role underwritten despite her presence.
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Noah RedfellowWoods is a frequent comic standout, with several reviewers singling him out as one of the funniest parts of the movie. His eccentric energy lands even for critics who find the broader comedy weak.
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Steven RedfellowGrace’s brief megachurch-pastor turn is often called funny, juicy, or scene-stealing. One reviewer found the character intensely annoying, and several wished the role had more room to develop.
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RuthHenwick is repeatedly praised for warmth, groundedness, and an endearing presence as Ruth. The main drawback is the thinness of the role and romance, which can leave her with too little to do.
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WarrenCamp gives the ensemble humanity, gravitas, and some of its most enjoyable comic character work. Even when his screen time is limited, reviewers tend to see him as a stabilizing presence.
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WhitelawHarris brings menace and weight to a small role, with reviewers praising how much impact he gets from limited screen time. Some still see the part as underused or constrained by the script.
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CinematographerBanhazl’s cinematography is singled out for luminous, rich, grainy imagery that helps the film look more distinctive and expensive than its uneven storytelling feels.
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Becket RedfellowPowell’s charisma is the most consistent performance strength, often keeping the movie lively even when the material falters. A minority of critics find him too soft, smug, or lightweight to sell Becket’s darker side.
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ComposerMosseri’s score is a clear craft highlight, giving the movie a propulsive pulse and lively texture that helps carry its crime-caper momentum.
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ActorLukis earns a pointed compliment for subtle comic reactions as the priest hearing Becket’s death-row confession.
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ActorLaw contributes eccentric energy to the Redfellow ensemble, with his party-boy role fitting the film’s broader caricature-driven comedy.
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DirectorFord earns credit for visual polish, some dark-comic set-pieces, and moments of confident direction. His handling of tone, character motivation, and the remake’s satire is much more divisive.