Chris and Jessica explore the absurdity of Beckett's plan to eliminate his family members standing in his way, emphasizing how the film's tone embraces the ridiculousness of his actions without attempting to justify them. They highlight Glen Powell's captivating performance as a charming yet unapologetic anti-hero, alongside Margaret Qualley's sharp portrayal of Julia Steinway, a manipulative femme fatale who knows how to exploit Beckett's weaknesses. The dynamic between Beckett and the widow, played by Jessica Henwick, adds further complexity to the narrative, raising questions about redemption in a story steeped in greed and ambition.
The hosts also discuss the film's loose reimagining of *Kind Hearts and Coronets*, praising director John Patton Ford for crafting a story that, while outrageous, resonates with universal emotions of envy and resentment. With a score of 7 out of 10, this episode invites listeners to embrace the madness of *Beckett's Fortune*, a wickedly fun ride that pushes boundaries while delivering an entertaining cinematic experience.
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00:00:00 --> 00:00:02 Chris: Okay, so imagine this. You're four hours away
00:00:02 --> 00:00:04 from your execution, and instead of panicking
00:00:04 --> 00:00:06 or pleading for your life, you're calmly
00:00:06 --> 00:00:09 sitting with a priest recounting your life
00:00:09 --> 00:00:12 story. That's exactly where this film starts.
00:00:12 --> 00:00:14 And it only gets more outrageous from there.
00:00:14 --> 00:00:17 Jessica: That's such a bold way to open a story. It
00:00:17 --> 00:00:20 immediately makes you wonder, what kind of
00:00:20 --> 00:00:22 life did this person lead to end up here? And
00:00:22 --> 00:00:25 with Beckett Redfellow, played by Glen
00:00:25 --> 00:00:27 Powell, the answer is a mix of tragedy,
00:00:27 --> 00:00:30 ambition, and a whole lot of moral ambiguity.
00:00:31 --> 00:00:33 Chris: Right. And it all starts with his mother,
00:00:33 --> 00:00:36 Mary. Her story is heartbreaking.
00:00:36 --> 00:00:38 Disowned and disinherited by her father,
00:00:39 --> 00:00:41 Whitelaw, for refusing to abort, uh,
00:00:41 --> 00:00:43 Beckett when she was just 18.
00:00:44 --> 00:00:46 That decision cost her everything. But she
00:00:46 --> 00:00:48 still tried to raise Beckett with dignity and
00:00:48 --> 00:00:50 purpose, and that's what
00:00:50 --> 00:00:52 Jessica: makes her deathbed pleas so impactful.
00:00:53 --> 00:00:55 She tells Beckett to fight for the life he
00:00:55 --> 00:00:57 deserves, but it's almost like she
00:00:57 --> 00:01:00 unintentionally sets him on this dark path.
00:01:00 --> 00:01:03 Instead of finding peace or reconciliation,
00:01:03 --> 00:01:05 Beckett takes her words as a mandate to
00:01:05 --> 00:01:08 reclaim the family fortune, no matter the
00:01:08 --> 00:01:08 cost.
00:01:09 --> 00:01:12 Chris: And the cost is high. Beckett's
00:01:12 --> 00:01:13 plan to eliminate every family member
00:01:13 --> 00:01:16 standing between him and the inheritance is
00:01:16 --> 00:01:19 both horrifying and absurd. But
00:01:19 --> 00:01:22 what makes it work is the film's tone. It's
00:01:22 --> 00:01:23 a dark comedy that leans into the
00:01:23 --> 00:01:25 ridiculousness of his actions.
00:01:26 --> 00:01:28 Jessica: That's what makes it so entertaining. The
00:01:28 --> 00:01:30 film doesn't try to justify Beckett's actions
00:01:30 --> 00:01:33 or make him a sympathetic character. Instead,
00:01:33 --> 00:01:36 it embraces the absurdity and lets you enjoy
00:01:36 --> 00:01:38 the ride. Glen Powell's performance
00:01:39 --> 00:01:42 is key here. He's charming, smug,
00:01:42 --> 00:01:43 and completely unapologetic.
00:01:44 --> 00:01:46 Chris: And then there's Julia Steinway, played by
00:01:46 --> 00:01:49 Margaret Qualley. She's this manipulative
00:01:49 --> 00:01:52 femme, um, fatale who's been in Beckett's
00:01:52 --> 00:01:55 life since they were kids. She knows exactly
00:01:55 --> 00:01:57 how to push his buttons, and she's not afraid
00:01:57 --> 00:01:59 to use that to her advantage.
00:01:59 --> 00:02:02 Jessica: Julia is such an interesting character. She's
00:02:02 --> 00:02:05 not just a love interest. She's actively
00:02:05 --> 00:02:08 shaping the story. Margaret Qualley brings
00:02:08 --> 00:02:10 this sharpness to the role that makes Julia
00:02:10 --> 00:02:13 feel like she's always one step ahead, even
00:02:13 --> 00:02:14 when Beckett thinks he's in control.
00:02:15 --> 00:02:18 Chris: And let's not forget the widow. Beckett falls
00:02:18 --> 00:02:19 for her after, well, let's just say he
00:02:20 --> 00:02:22 removes her husband from the picture. It's
00:02:22 --> 00:02:25 such a bizarre dynamic, but it adds another
00:02:25 --> 00:02:26 layer to the story.
00:02:27 --> 00:02:28 Jessica: Jessica Henwick does a great job as the
00:02:28 --> 00:02:31 widow. She's this naive, almost
00:02:31 --> 00:02:33 innocent character who's completely
00:02:33 --> 00:02:36 Blindsided by Beckett's true nature. For
00:02:36 --> 00:02:38 a moment, you wonder if she might be the one
00:02:38 --> 00:02:39 to redeem him. But of course, that's not the
00:02:39 --> 00:02:41 kind of story this is.
00:02:42 --> 00:02:44 Chris: No, it's not. This is a story about
00:02:44 --> 00:02:47 ambition, greed, and how far
00:02:47 --> 00:02:49 someone is willing to go to get what they
00:02:49 --> 00:02:52 want. And the fact that it's all wrapped up
00:02:52 --> 00:02:55 in this darkly comedic package makes it such
00:02:55 --> 00:02:56 a unique and entertaining experience.
00:02:57 --> 00:02:59 Jessica: It really does. And I think part of what
00:02:59 --> 00:03:01 makes it work is that it's a loose
00:03:01 --> 00:03:03 reimagining of kind hearts and coronets.
00:03:04 --> 00:03:06 That film was also a dark comedy about
00:03:06 --> 00:03:09 ambition and murder, but this version cranks
00:03:09 --> 00:03:11 up the intensity and adds a distinctly
00:03:11 --> 00:03:12 American flair.
00:03:12 --> 00:03:14 Chris: And let's talk about the direction by John
00:03:14 --> 00:03:17 Patton Ford. He's crafted something that's
00:03:17 --> 00:03:20 both outrageous and oddly relatable.
00:03:20 --> 00:03:23 Beckett's actions are extreme, but they're
00:03:23 --> 00:03:25 driven by emotions we all understand.
00:03:25 --> 00:03:28 Envy, resentment, and this desperate need for
00:03:28 --> 00:03:29 validation.
00:03:30 --> 00:03:32 Jessica: That's so true. The film taps into
00:03:32 --> 00:03:34 these universal feelings even as it
00:03:34 --> 00:03:37 exaggerates them to absurd levels. It's
00:03:37 --> 00:03:39 not just about the murders or the
00:03:39 --> 00:03:42 inheritance. It's about the human emotions
00:03:42 --> 00:03:44 driving those actions. And that's what makes
00:03:44 --> 00:03:45 it so compelling.
00:03:46 --> 00:03:48 Chris: And that's why it's so easy to get lost in
00:03:48 --> 00:03:50 the preposterousness of it all. You're not
00:03:50 --> 00:03:53 watching this for a moral lesson or a deep
00:03:53 --> 00:03:55 philosophical exploration. You're watching it
00:03:55 --> 00:03:58 to see how far Beckett will go and how much
00:03:58 --> 00:03:59 chaos he'll cause along the way.
00:04:00 --> 00:04:03 Jessica: Exactly. It's escapism at its
00:04:03 --> 00:04:06 finest. And the performances really elevate
00:04:06 --> 00:04:08 it. Glen Powell, Margaret
00:04:08 --> 00:04:11 Qualley, Jessica Henwick. They all bring
00:04:11 --> 00:04:14 their A game. You can tell they're having
00:04:14 --> 00:04:16 fun with these roles, and that energy is
00:04:16 --> 00:04:17 infectious.
00:04:18 --> 00:04:21 Chris: So final thoughts? For me, It's a
00:04:21 --> 00:04:24 solid 7 out of 10. It's not perfect,
00:04:24 --> 00:04:26 but it's a wickedly fun ride that doesn't
00:04:26 --> 00:04:29 take itself too seriously. If you're in the
00:04:29 --> 00:04:32 mood for something dark, twisted, and a
00:04:32 --> 00:04:33 little bit ridiculous, this is definitely
00:04:33 --> 00:04:34 worth a watch.
00:04:35 --> 00:04:37 Jessica: I'd agree with that. It's not gonna be
00:04:37 --> 00:04:39 everyone's cup of tea, but if you can embrace
00:04:39 --> 00:04:41 the absurdity and just go along for the ride,
00:04:41 --> 00:04:44 it's a blast. Plus, it's always
00:04:44 --> 00:04:46 refreshing to see a film that's not afraid to
00:04:46 --> 00:04:48 take risks and push boundaries. So,
00:04:48 --> 00:04:51 yeah, seven out of ten feels just right.
00:04:52 --> 00:04:55 Chris: Well, there you have it. A darkly comedic
00:04:55 --> 00:04:58 tale of ambition, murder, and one man's
00:04:58 --> 00:05:00 quest for a life he believes he deserves.
00:05:00 --> 00:05:03 It's outrageous. It's entertaining and it's
00:05:03 --> 00:05:06 definitely one to add to your watch list if
00:05:06 --> 00:05:07 you can handle the madness.
00:05:08 --> 00:05:10 Voice Over Guy: You've been listening to movies first
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00:05:20 --> 00:05:22 Chris: has been another quality podcast production
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