How to Make a Killing (2026)

The megawatt charisma of Powell and Qualley, dry humour and brisk pacing keep the story entertaining as the protagonist dispatches his relatives. It remains only decent rather than outstanding, lacking the uniqueness of the Ealing original it reimagines.

The eat-the-rich thriller is a serviceable if unspectacular addition that feels more like a distant relative than an heir to Kind Hearts and Coronets. The critic singles out Powell’s charismatic presence and the strong comedic passages from supporting cast.

It is a lacklustre satire about a disinherited rich kid scheming against his family. The critic singles out the absence of bite in the social satire and calls for an end to eat-the-rich films.

The critic praises the choice of source material but finds the film uninvolving overall. The cast is strong but the execution lacks the bite and social commentary of similar dark comedies.

The remake lacks the bite and crackle of its Ealing inspiration and the class satire is blunt. The critic singles out the throwaway murders and lack of procedural tension or twists.

The wan thriller/dark comedy offers little payoff despite star power. The critic singles out the glib, underwritten script and lack of buzz or commercial prospects.

The film is a conventional but uninspired remake of Kind Hearts and Coronets that fails to capture the original's charm or moral edge. Glen Powell's lead performance is too reserved and the story ends up feeling like a watered-down sentimental comedy despite the murders.

This botched update of Kind Hearts and Coronets sees Glen Powell attempt to slay his way to fortune in a story loosely based on the classic, but it ignores key strengths like the multi-role casting and feels redundant.

The critic calls it a limp kill-the-rich satire hobbled by an oddly dull script and a tone that matches it. The loose adaptation of Kind Hearts and Coronets fails to deliver bite or sharpness despite its star-packed cast.

The morally bleak comedy delivers a strong opening and clever twists in its reworking of a classic story. Ford's cynicism about crime paying off feels timely but the film is ultimately too smart for its own good.

The film is fun enough at first but too shallow to be a satisfying satire. The critic singles out the lack of sharp critique, limited character insight and the drag from too many murders.

The critic praises it as a shrewd, refreshing retooling of an Ealing classic that rejects easy caricature in favor of brittle humanity and grim irony. Ford's direction and the film's old-school flair while commenting on American ambition are singled out for praise.

The critic finds this update of Kind Hearts and Coronets a pale imitation that loses the original's class satire and icy elegance. Glen Powell is game but bland in the lead role, and the film never matches the source's brilliance or wit.

The critic finds the black comedy toothless and not funny enough, lacking darkness or sufficient investment in the characters. Margaret Qualley's energetic, winking performance as a scheming femme fatale is singled out as a highlight that almost makes the film worthwhile.

The film is a cheerily cynical comedy about entitlement and murder that starts with promise but grows forced and self-satisfied. Ford assembles an appealing ensemble around Powell but the story remains thin.

The film is unnecessary and uninspiring, struggling to strike any tone and lacking humour or purpose as a remake. It follows the original plot but feels redundant and fails to capture the source material's spirit.

Glen Powell brings an edge of darkness to the role of a handsome hero plotting to kill for inheritance, but the film isn't daring enough and only plunges its knife halfway in.

Glen Powell carries the screw-loose thriller with yuppie treachery in this watchably weird reimagining of the classic. The film mixes greed, romance and murder with more on its mind than homicide.

The critic calls it a sharp satire on the American dream and wealth disparity, transposing the plot of Kind Hearts and Coronets to modern New York with Glen Powell perfectly cast in the lead. It leans more into wry, subtle satire than broad comedy or laughs.

The critic finds the film a fun but flawed thriller that prioritizes its "eat the rich" message over crafting a compelling story or thriller elements, resulting in something that doesn't offer new insights. Glen Powell and Margaret Qualley are praised for their performances.

The review criticizes the film for Glen Powell delivering a predictable performance and the story offering simple, thin observations on capitalism without committing to either comedy or satire.

The critic praises John Patton Ford's skillful Americanized update of "Kind Hearts and Coronets," highlighting its scathing take on income inequality and dynastic wealth. Glen Powell's charismatic performance as the vengeful protagonist and the strong ensemble provide comic bite and keep the film fleet-footed.