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    Movie Review

    Pretentious She Dies Tomorrow gives arthouse movies a bad name

    Alex Bentley
    Aug 6, 2020 | 1:45 pm
    Pretentious She Dies Tomorrow gives arthouse movies a bad name
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    Some horror/thriller movies grab you by the throat — metaphorically, of course — from the moment they begin, rarely letting up. Others can be a slow build to a terrifying climax. But few hide their intentions from the audience, as the whole point is to make people as scared as possible.

    That is the exact opposite approach of the supposed thriller She Dies Tomorrow, which takes its sweet time getting to any kind of point. Centered on Amy (Kate Lyn Sheil), the film spends its first 15+ minutes watching her wander around her house in a kind of catatonic state. Why is she acting like this? What is she thinking? Good luck figuring that out, as there are only brief, cryptic lines of dialogue during that entire section, coupled with baffling, psychedelic imagery.

    Once actual conversations start to happen when Amy’s friend Jane (Jane Adams) comes over, things don’t get any clearer. The only thing that is understandable is that Amy thinks she’s going to die tomorrow, thoughts that somehow migrate to Jane and multiple other characters as the movie goes along.

    Written and directed by Amy Seimetz, the film is about as pretentious as they come. It’s doubtful most people will be willing to make it through the initial mind-numbing section, and even if they do, there’s little in the way of a reward later on. Seimetz prefers to keep things ultra-vague, as if ambiguity were a virtue in and of itself. There can certainly be a place for that in films, but it’s also advisable to give your audience something tangible on which to hold.

    Some may compare the constant feelings of dread the characters are experiencing to the current state of the world, but that’s giving the film too much credit, not least because it was made well before the pandemic. Given that she named her main character Amy, Seimetz may be trying to give a window into her personality, but there are few aspects of the film that help the audience connect with Amy or any other character.

    Since the film is essentially formless, the actors do as well as they can with the material. The cast, which also includes Chris Messina, Katie Aselton, Tunde Adebimpe, and cameos by Josh Lucas and Michelle Rodriguez, all appear to be completely game for anything Seimetz wants them to do, no matter how bizarre. Sheil gets by far the most screentime, but strangely her character is the least knowable of any of them.

    She Dies Tomorrow is the kind of film that makes people hate arthouse movies. The title seems to promise a certain type of experience, but the film delivers something completely different. It may be art, but it sure as hell isn’t entertainment.

    ---

    She Dies Tomorrow is available on August 7 via streaming options like Apple TV, FandangoNow, and Google Play.

    Jane Adams and Josh Lucas in She Dies Tomorrow.

    Jane Adams and Josh Lucas in She Dies Tomorrow
    Photo courtesy of Neon
    Jane Adams and Josh Lucas in She Dies Tomorrow.
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    Movie Review

    Glen Powell bumps off rich family in How to Make a Killing

    Alex Bentley
    Feb 19, 2026 | 12:45 pm
    Glen Powell in How to Make a Killing
    Photo courtesy of A24
    Glen Powell in How to Make a Killing.

    Becoming a star in Hollywood and maintaining that stardom are two very difficult things to achieve, but Glen Powell has been adept at doing so over the past few years. A key supporting role in Top Gun: Maverick led to lead parts in films like Hit Man, Anyone But You, Twisters, and The Running Man. Powell is looking to keep his star power shining in the new dark comedy/thriller, How to Make a Killing.

    He plays Beckett, an outcast member of the ultra-wealthy Redfellow clan. Struggling to get by in a menial job in New York City while still living in New Jersey, Beckett’s only smidgen of hope is that he remains an heir to the vast Redfellow fortune. The only trick? Every other remaining family member must die before he’ll see a dime of that money. When even that menial job goes away, Beckett indulges the fantasy of bumping off his familial competition.

    Among those standing in his way are cousins Taylor (Raff Law), a finance bro, Noah (Zach Woods), a pretentious artist, and Steven (Topher Grace), a celebrity pastor; Uncle Warren (Bill Camp) and Aunt Cassandra (Bianca Amato); and grandfather Whitelaw (Ed Harris). Complicating matters, however, are an old childhood friend, Julia (Margaret Qualley), who starts asking more of Beckett than he can give; and new flame Ruth (Jessica Henwick), who happens to be dating Noah when he meets her.

    Written and directed by John Patton Ford (Emily the Criminal), the film is a tale of two halves. Narrated by Beckett in the form of telling his story to a prison chaplain, the story plays with audience expectations on multiple occasions. As Beckett ramps up to detailing exactly how he got started down the road toward being a serial killer, the film has a fun-if-macabre vibe.

    Under normal circumstances Beckett would be someone to despise, but since he’s an underprivileged person who’s taking aim at people who (mostly) don’t seem to appreciate their good luck, it feels okay to cheer for him. This follows a recent trend in “eat the rich” films, one that’s been influenced by a turn against real-life billionaires. Ford plays heavily into the theme and it works for a good portion of the film.

    However, things get a little murky in the second half of the movie. A few of the planned killings get less attention than others, making their - pardon the pun - execution less interesting/fun than the others. Also, Ford does a poor job of indicating just how much weight should be put on Beckett’s relationship with Julia, someone with whom he only has occasional interactions for the bulk of the film.

    It’s difficult to know the exact right way to showcase Powell, but this film doesn’t seem to be the best fit. Whether it’s the odd hairstyle/wig he’s given, or the varying degrees of confidence his character shows, his performance is up and down. Qualley’s acting style is over-the-top, and she needed to dial it down in this particular role. Henwick and Camp are the grounding forces in the film, keeping the story somewhat tethered to reality while almost everyone else makes a meal of their scenes.

    How to Make a Killing is serviceable entertainment that gives viewers a decent number of laughs and thrills. But Ford can’t find a way to make the story work all the way through, and a so-so performance by Powell keeps the film from rising above its mediocre station.

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    How to Make a Killing opens in theaters on February 20.

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