Gone are the days when stars seemed to go from strength to strength — when Tom Hanks, for instance, followed Philadelphia with Forrest Gump, and Forrest Gump with Apollo 13, and Apollo 13 with Toy Story. Far more common is the stop-and-start trajectory of even an actress as comely and appealing as Sydney Sweeney, whose megahit Anyone but You was followed by such less-than-megahits as Eden and Americana, until The Housemaid restored her promise.

As it happens, Sweeney’s co-star in Anyone but You, Glen Powell, has had his own share of career oscillations: He seemed as close to a sure bet as any up-and-comer on the strength of that romantic comedy and the two films that followed, the crime caper Hit Man and the cyclone sequel Twisters. But his attempts to establish himself as a consistent hit-maker took a beating with last fall’s The Running Man and will not be helped by his new black comedy, How to Make a Killing. An entirely unnecessary, frequently enervated remake of the 1949 Ealing Studios classic Kind Hearts and Coronets, the film stars Powell as a son of privilege who, finding himself on the outs with his well-to-do family, seeks to grab hold of his fortune by means of murder. Unfortunately, writer-director John Patton Ford has little feel for the American class system, no discernible talent for writing good dialogue, and minimal competency with directing actors. 

Robert Duvall, 1931–2026

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The film, which is never as jauntily dark as it means to be, begins in the death-row cell of Becket Redfellow (Powell), a convicted murderer of unusually refined........

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