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    Movie Review

    If I Had Legs I’d Kick You captures the chaos and comedy of motherhood

    Alex Bentley
    Oct 29, 2025 | 1:30 pm
    Conan O'Brien and Rose Byrne in If I Had Legs I'd Kick You

    Conan O'Brien and Rose Byrne in If I Had Legs I'd Kick You

    Photo courtesy of A24

    Movie history is littered with depictions of stressed-out mothers who have breakdowns due to the pressure put on them by their children, spouses, or society in general. Recent examples include Hereditary, Tully, and Nightbitch, with each of them finding different ways to depict their main character’s struggles. Yet another put-upon mother goes through the wringer in the oddly-named If I Had Legs I’d Kick You.

    When we meet Linda (Rose Byrne), she’s already in the middle of a huge ball of stress. Her daughter (Delaney Quinn) suffers from an unnamed illness that requires around-the-clock care and frequent doctor visitors. Her husband, Charles (Christian Slater), is a boat captain whose job keeps him away from home for long periods of time. And her job as a therapist requires her to hear other people’s problems, necessitating her seeing a fellow therapist (Conan O’Brien) on a daily basis.

    Nearly everyone else she encounters in the movie adds to her anxiety, including Caroline (Danielle Macdonald), a new mother who’s constantly worried about her baby; Dr. Spring (Mary Bronstein), who constantly harps on Linda to get her daughter to eat; an officious parking attendant at the hospital; and a sneering desk clerk at the motel she and her daughter are forced to stay at after a plumbing disaster at home. Consequently, she dismisses James (A$AP Rocky), another motel worker, the one person who treats her with a modicum of kindness.

    Written and directed by Bronstein, the film is a harrowing experience that somehow also manages to be darkly funny at times. Linda is dealing with way too much for one person to adequately handle, something that is compounded by the fact that nobody really listens to her, not even the therapist she’s paying to do so. Scenes bounce back and forth between Linda demonstrating righteous anger at what the world is throwing at her and crushing guilt over supposedly not doing enough for her child.

    Bronstein depicts Linda’s journey in a number of interesting ways, some straightforward and others not so much. Bronstein makes liberal use of close-ups on Linda’s face, heightening the feeling that the world is closing in on her. The plumbing problem at her home results in a huge hole in the ceiling, which becomes the source of some unexplained phenomena, a choice that might have been unnecessary.

    What’s most striking about the film is how hardly anyone is on Linda’s side. Since the film joins the story as it’s already in progress, the audience is left to guess as to how Linda has behaved in the past to garner such negative interactions from people who should be helping her. While she’s not a perfect person, she also doesn’t appear to be such a jerk that she should be treated with disdain everywhere she goes.

    Byrne, who’s gravitated toward lighter roles in recent years, is an absolute marvel in this part. The more stress Linda feels, the more she becomes disheveled, and Byrne makes you feel every ounce of the character’s pain. O’Brien, who’s rarely had to play anyone but “Conan O’Brien” before, is surprisingly good, tamping down his comic sensibility to complement Byrne well. A$AP Rocky also makes a nice impression, elevating a character that’s a little underwritten.

    The role of a mom is never an easy one, and that’s in the best of circumstances. If I Had Legs I’d Kick You — a title that is never explained yet still somehow fits — earns its stripes by demonstrating how the often thankless job of motherhood can become even more distressing when the mom in question is given little to no support.

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    If I Had Legs I'd Kick You opens in Houston on Friday, October 31.

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    Movie Review

    Glen Powell delivers sly laughs in satirical How to Make a Killing

    Alex Bentley
    Feb 19, 2026 | 4:15 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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