
Here are Cinephile Corner’s 10 recommendations for movies like How to Make a Killing:
Snowpiercer
It’s taken me multiple viewings to fully warm up to Snowpiercer (no pun intended). Bong Joon-ho’s first primarily English-language film is both brilliantly executed as a sci-fi thriller—boasting stunning set pieces and an inspired apocalyptic bullet train setting—and burdened by an overly on-the-nose allegory about class warfare that at times dulls its impact.
The Game
Fresh off the success of Se7en, David Fincher used the opportunity to make a move that is deeply idiosyncratic and cynical, matching his personal interests with a story that breaks down the infrastructure of masculinity in a world of wealthy businessmen. The Game is not only a David Fincher movie, it feels like the most David Fincher movie, and amalgamation of common themes regurgitated with each film that follows.
Emily the Criminal
Emily the Criminal is a tense star vehicle for one of the industry’s biggest risers, the committed and ambitious Aubrey Plaza. The movie lives and dies by her performance, and she’s able to carry the weight of this thriller a majority of the time.
The Royal Tenenbaums
The Royal Tenenbaums not only stands as one of Wes Anderson’s best movies of his career, but also a defining work of the independent filmmaking scene in the early 2000s. It’s dripping with color and visual intensity, masking a story with deep themes of broken families.
Parasite
Every few years, I revisit Parasite and find myself wondering if I’ve been underrating it. It’s a movie that feels so omnipresent in conversations about the best movies of the 21st century that it’s easy to take its greatness for granted. But every rewatch reminds me exactly why Bong Joon-ho’s international juggernaut remains one of the most important films of the last decade—both as a razor-sharp thriller and a scathing critique of class dynamics that continues to feel disturbingly relevant.
Ferrari
Considering he hadn’t made a movie since Blackhat in 2015, Michael Mann’s long-awaited return to the big screen, Ferrari, is incredibly succinct and satisfying. It’s a scorching melodrama that burns with the intensity of its titular character’s relentless ambition. This isn’t anywhere near a sugarcoated biopic; it’s a raw, unflinching exploration of Enzo Ferrari’s inner demons, where the pursuit of automotive excellence takes a brutal toll on personal relationships and those around him.
The Running Man
The Running Man is a lot of movie, and my disappointment in it is not subtle. On paper, Edgar Wright and Glen Powell should be an easy match for a slick, propulsive studio thriller. Instead, this reimagining of the 1987 Arnold Schwarzenegger vehicle leans into a gritty, self-serious dystopia that drains most of what makes Wright and Powell such reliable fun.
The Favourite
The Favourite sees director Yorgos Lanthimos recontextualizing 18th-century British royalty. A searing dark comedy featuring many of 2018s’s best performances, including Olivia Colman, Emma Stone, and Rachel Weisz.
Anora
Anora is a film that announces Sean Baker as one of cinema’s pinnacle filmmakers. It’s a starry movie that puts you through the ringer and makes you feel just about every emotion possible. It’s grandiose filmmaking at a very high degree of execution. Baker likes to explore similar themes and character types with each of his films, and he’s never been so clear as to why he finds these particular stories so fascinating.
There Will Be Blood
Calling this a canonical masterpiece is almost redundant, yet revisiting Paul Thomas Anderson’s There Will Be Blood still feels shockingly alive, starting with Daniel Day-Lewis, whose Daniel Plainview might be the defining screen portrait of American ambition curdled into misanthropy. From the wordless, pickaxe-and-broken-bones prologue to the baptism humiliation and the “I drink your milkshake” finale, Day-Lewis maps a soul corroded by competition until there is nothing left but the will to dominate.
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