If variety is the spice of life, then Hollywood’s pantry has been scrounging around for leftover crumbs for about a decade. Sure, independent films still pop up like wild mushrooms after a rainstorm, but the multiplexes? They’ve become overrun by franchise behemoths, with mid-budget flicks all but vanishing. It’s like looking for a needle in a haystack—if that needle were made of good writing and compelling plots.
Mid-budget films come with a delightful mix of high risk and high reward, but let’s face it: many studios would rather bury their cash in the backyard than risk it on these kinds of projects. Thankfully, a rare breed of films still exists, and Glen Powell has somehow managed to wiggle his way into quite a few of them. It’s a mystery worthy of Agatha Christie.
After gaining fame from *Top Gun: Maverick*—a flick that had more horsepower than a NASCAR race—Powell has dived headfirst into a trio of mid-budget projects: the crime romp *Hit Man*, the highly non-controversial rom-com *Anyone But You*, and now the oh-so-subtly titled *How to Make a Killing*. This last cinematic feast rings in at a paltry $15 million in production costs, which is like pocket change in Hollywood terms but a small fortune for anyone hoping to buy groceries.
A Family Affair
In a modern twist on the ancient tale of family dysfunction, Powell plays Becket Redfellow, a man whose mother was practically excommunicated from her money tree for not pulling off a textbook abortion. Despite his estrangement, Becket has the audacity to think he deserves a slice of that sweet, sweet family fortune. After getting demoted at his retail gig (because why wouldn’t they fire the guy from *Top Gun*?), he decides to off a few relatives standing in his way. It’s a classic case of “just kill your way to the top!” An inspirational tale for the ages, I must say.
Now, let’s talk about the supporting cast, a delightful selection of insufferable wealthy stereotypes fit for a *Knives Out* sequel. We’ve got a Wall Street bro, a faux-artist with a flair for the obnoxious, and a celebrity pastor—because nothing says “entertaining” like making fun of the one percent while they’re praying for you. Spoiler alert: Becket gets caught red-handed, but the hows and whys remain as elusive as that good plot twist we’ve all been searching for.
Margaret Qualley steals the spotlight as the somewhat deranged femme fatale Julia, dazzling us with her wardrobe choices that seem to get shorter with each scene. She’s a refreshing nod to the sordid femme fatales of yesteryear—a reminder that character roles for younger actors need to take center stage, not just the usual “damsel in distress who secretly finds herself”.
A Study in Characters
Powell’s charm really shines in these mid-budget stunners; he’s far better suited for clever banter than slinging high-octane action. He’s following in the footsteps of his *Top Gun* co-star Tom Cruise, who, let’s be honest, probably gave him some sage advice on the perks of cashing in on mid-budget gigs. If you want to sidle your way into Hollywood consciousness, the best route seems to be staying in the middling lane where the traffic isn’t too horrific.
So, while *How to Make a Killing* isn’t exactly making waves at the box office yet—despite being named after its financial aspirations—perhaps Powell is onto something. As he dives into his next project, a JJ Abrams sci-fi extravaganza, let’s hope he manages to squeeze in a few more delightfully absurd capers. After all, who wouldn’t want to see more characters grappling with mortality while dealing with malicious relatives? It’s practically a rite of passage.
*How to Make a Killing* is currently showing in US theaters and is set to make its way to the UK on March 11. For the true film aficionados eager to know what to watch (or avoid), don’t miss our ongoing Big Screen Spotlight series. Because let’s face it: in the world of film, sometimes it’s all about finding the hidden gems amongst the rubble.
