This week we sharpen our knives for How to Make a Killing, John Patton Ford’s 2026 black comedy thriller starring Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Zach Woods, Topher Grace, and Ed Harris. Powell plays Becket Redfellow, a blue-collar outsider disowned by his grotesquely wealthy family, who realizes the only thing standing between him and billions is a very inconvenient line of living relatives. Did How to Make a Killing make good on the killing, or should it have spent more time on the how?
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RELEASE DETAILS
Title: How to Make a Killing
Year: 2026
Director: John Patton Ford
Writer(s): John Patton Ford; loosely inspired by Kind Hearts and Coronets, written by Robert Hamer and John Dighton
Top-Billed Stars: Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Zach Woods, Topher Grace, Ed Harris
Running Time: 1h 45m / 105 minutes
Country of Origin: Listed by StudioCanal as UK / France / South Africa
Official Release Date(s): U.S.: February 20, 2026 via A24; UK/Ireland: March 13, 2026 via StudioCanal; PVOD/streaming purchase rental date listed by Rotten Tomatoes as March 24, 2026
OTHER NOTABLE PROJECTS
John Patton Ford — Emily the Criminal
Ford’s 2022 debut was a tense, grounded crime drama built around debt, desperation, and the gray area between survival and criminality. How to Make a Killing feels like a louder, glossier cousin: still about money pressure, but now filtered through inheritance satire and body-count comedy.
Glen Powell — Top Gun: Maverick, Anyone But You, Hit Man, Twisters
Powell arrives here during a major leading-man upswing, and that matters because the movie depends on whether his charm can make a murderer fun to follow. The movie is almost a stress test of his screen persona: can “likable guy energy” survive calculated homicide? A24 and People both position Powell as the center of the film’s hook.
Margaret Qualley — The Substance, Maid, Once Upon a Time in Hollywood
Qualley brings a slippery, off-center quality that can make even a small glance feel loaded. In a story full of inheritance games and emotional manipulation, she is not just “the friend” or “the romantic figure”; she gives the movie a colder human counterweight to Powell’s showier scheming.
Jessica Henwick — The Matrix Resurrections, Glass Onion, Iron Fist
Henwick’s casting gives the ensemble a sharp genre-friendly presence. She has moved between big franchise machinery and ensemble mystery-comedy, which makes her a clean fit for a movie trying to blend murder plotting, social satire, and stylish thriller rhythms.
Bill Camp — The Night Of, Joker, News of the World
Camp is one of those actors who can make a room feel heavier just by standing in it. In a movie full of rich-family grotesques, he brings the kind of lived-in severity that can keep the caricature from floating away.
Zach Woods — Silicon Valley, The Office, Avenue 5
Woods matters here because his presence signals awkward tension and brittle comedy. He is especially useful in a movie where the rich relatives cannot just be villains; they need to be irritating enough that the audience understands Becket’s resentment while still realizing, “Buddy, murder remains a bit much.”
Topher Grace — That ’70s Show, Spider-Man 3, BlackKklansman
Grace has built an interesting second-act career playing men whose pleasant surfaces hide weakness, vanity, or worse. That makes him useful in a story where respectability is basically just villainy with better upholstery.
Ed Harris — Apollo 13, The Truman Show, A History of Violence, Westworld
Harris brings instant patriarchal gravity. In a family-empire story, casting him is shorthand: this bloodline has rules, money, and at least one portrait room where everyone looks like they have disappointed a butler.
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