Ready or Not Collection

Samara Weaving

Adam Brody

Mark O'Brien

Henry Czerny

Andie MacDowell

Melanie Scrofano

Kristian Bruun

Elyse Levesque

Nicky Guadagni

John Ralston

Liam MacDonald

Ethan Tavares

Hanneke Talbot

Celine Tsai

Daniela Barbosa

Chase Churchill

Etienne Kellici

Andrew Anthony

Elana Dunkelman

Kate Ziegler

James Eddy

Adam Winlove-Smith

Alicia Richardson

Nat Faxon

Guy Busick

R. Christopher Murphy

James Vanderbilt

Darren Marsman

Duncan McLeod

Laura Hokstad

Chirayouth Jim Saysana

Adam Tupper

Ari Magder

Bas Reitsma

Stephanie Collins

Leslie Whittaker

Martin Budd

Zoë Bigio

Kathryn Prescott

Kenroy Ebanks

Denna McNaught

Bradley Greaves

Robert Stecko

Edward A. Queffelec

Cudah Andarawewa

Angela Chao

John Kurtz

Ashley Shields-Muir

Savanna Slonimski

Eric Zachanowich

Sean Kirby

Gino Sandoval

Victoria Darlene Baksi

Martin Drover

Kyle Klausen

John Belliveau

Neil Olsen

Rose Gregoris

Kevin Banks

Ryan MacNeill

Mike Daigle

Morgyn Johnston

Stephen Crone

Mike Twin Jones

Randy Brown

Glen Roemer

Ritchie Miazek

Daniel Moctezuma

Kevin Forstner

Evan Gillman

Heather Crepp

Anita Shapanski

Peter Persaud

Mario Tassone

Steve Baine

Jordan Delic

Richard D. Leko

Mikey Sarciron

Chris Moulson

Mike Curran

Michael Lee Taylor

Joanna Watson

Ashley Alcock

Mark Alleyne

Gina Gyles

John Teixeira

Charles McGlynn

Gregor Hutchison

Stewy Wells

Michael Stark

Brian Tyler

Robert Elhai

Rossano Galante

Dana Niu

Brad Warnaar

Joe Bracciale

Christian T. Cooke

Colin McLellan

Matt Bettinelli-Olpin

Tyler Gillett

Terel Gibson

Brett Jutkiewicz

Andrew M. Stearn

Avery Plewes

Chad Villella

Anthony Pangalos

T.K. Knowles

Tripp Vinson

John O'Grady

William Sherak

Tracey Nyberg

Tara Farney

Bradley J. Fischer

Daniel Bekerman

Jenny Arbour

Justin Bates

Nigel Mendoza

James Sled

Ethan Helms

Ryan Ramsey

Eric Bryson

Horror

Comedy

Ready or Not

Mythology Entertainment

Vinson Films

Fox Searchlight Pictures

Radio Silence

TSG Entertainment

United States of America

Vinicius Monteiro

The promise of a happily-ever-after has always been the backbone of fairy tales. But the reality of marriage can hide much darker and bloodier rituals. When a young woman from a humble background marries into a millionaire dynasty, what should be a toast to her new life turns into an unpredictable hunt where the prize is her own survival. The premise takes on a darkly comedic edge, drawing in anyone who loves seeing things spiral out of control on screen. It's a macabre irony about the institution of marriage that really makes you want to peek behind the curtain.

It's pretty much unanimous that the lead carries the movie on her back, and that's no exaggeration. Samara Weaving delivers a spectacular, attitude-packed performance, quickly establishing herself as a totally badass final girl. You know that feeling of watching someone slowly break down, only to rise back up fueled entirely by hatred and raw survival instinct? That's exactly what she does here.

She effortlessly switches between the genuine panic of a terrified victim and the blind fury of someone who simply refuses to die. The audience gets completely invested because her physical reactions are so authentic. Her screams are guttural. Her exhaustion is palpable. You spend the whole night rooting for Grace because her pain and shock feel incredibly real in the middle of such an absurd situation.

Adam Brody really stands out as the wild card in the mix. He brings a nice, melancholic dramatic weight playing the groom's brother, acting as the only broken moral compass in that house. Andie MacDowell also tries to bring a dark, sober vibe to the clan's matriarch, balancing elegance with a chilling coldness.

But the rest of the Le Domas family slides way too far into caricature. Sure, the bizarre contrast between their psychopathy and their total incompetence at wielding antique weapons brings some good laughs. Seeing coked-up rich folks accidentally kill their own maids is hilarious. The downside is that this constant clowning around takes a lot of focus away from the actual threat. It's hard to feel genuinely scared when the villains just seem like spoiled idiots with money, which waters down the tension the story really needed.

The directing duo knows exactly what kind of chaotic circus they've set up. They don't try to reinvent the wheel of psychological thrillers, opting instead for pure action. The camera work is super agile, closely following the despair, almost glued to the protagonist's heavy breathing during the chase scenes.

You can tell they're having fun throwing the viewer from one hallway to the next. But maybe it lacked a little more subtlety and boldness in building up the fear. The direction leans heavily on the screaming, the general confusion, and the bloodbath, missing the chance to create quieter sequences that would actually send shivers down your spine.

The story simply has no patience for beating around the bush. The script steps on the gas at the end of the first act and never lets up. You're thrown right into the middle of the hunt incredibly fast, which guarantees a dynamic pace that won't let you look away from the screen. This frantic structure keeps you hooked from start to finish.

And the transitions are blunt and ruthless. Grace can barely catch her breath between dodging a shotgun blast and stumbling into a pit full of dead bodies. It's a roller coaster designed never to stop, and the script hits the bullseye by keeping the urgency of the night alive right up until the final minutes, even if it means sacrificing deeper development for the supporting characters.

We're living in an era of movies that love to bash the elite and explore the horrors of capitalism. This movie tries to ride that wave hard, and the social critique angle actually grabs your attention at first. It becomes obvious right away that the real villain isn't the occult curse or Mr. Le Bail, but the sick greed of an elite willing to wipe out anyone necessary to keep their privileges intact.

The problem is that the script only scratches the surface of this idea. It lacked a much sharper, smarter bite to truly poke at how these people live. The movie would rather spend its screen time showing exploding heads than deeply exploring the complex motivations of that rotten family dynamic. The metaphor is there, but it's treated like a shallow accessory.

This crazy balancing act of genres ends up splitting opinions and will define whether you love or hate the experience. The script tries to balance raw survival instinct with absolutely badly-timed jokes. And the dark humor works beautifully in several scenes, creating wonderful comedic catharsis amidst the chaos.

But there are times when the comedy crushes and drains the horror. The movie rarely lets your stomach churn with dread before throwing in a ridiculous situation, a stupid line from a family member, or a massive screw-up in the middle of the slaughter. The suspense never fully manages to settle in because the film seems almost terrified of taking itself seriously for more than five minutes at a time.

Being trapped inside a giant, locked-down house with a bunch of armed millionaires should be a purely terrifying experience. The setting really creates a suffocating vibe at the start of the hunt, putting you on high alert in the wide, dimly lit spaces. But the mood gives so much ground to the absurdity of the premise that the oppressive feeling evaporates. Instead of biting your nails in fear, the atmosphere drags you into a nervous laugh at the sheer stupidity of the situation. The house stops being a terrifying slaughterhouse and turns into a giant, bizarre playground for a deadly, childish game.

The decision to confine almost all the action to that closed space results in some great shots. The cinematography makes brilliant use of the secret passages, the rustic wooden walls, and the dark corners of the luxurious mansion. The visual contrast between the pristine rooms and the accumulating grime is beautiful to look at.

But the biggest visual charm, without a doubt, is the wardrobe. The way the wedding dress transforms carries fantastic symbolic weight. That white gown, once immaculate and untouchable, gets chopped up, stained with dirt, soaked in blood, and torn at the legs to make it easier to run. It's the perfect, methodical image of a naive woman transitioning into a lethal, ruthless warrior.

The makeup and production design teams completely nailed it by avoiding the lazy CGI that haunts so many movies today. Going with practical effects makes everything look raw and visceral. The deep flesh cuts, the arrow wounds, the shots to the face, and the exploding bodies look disgusting and very real on screen.

The over-the-top use of gallons of fake blood clashing with the absolute luxury and wildly expensive rugs gives the deaths a highly comedic visual weight. And the art design shines in the choice of the family's weapons. Each character gets a tool ranging from heavy halberds to hunting crossbows, which brilliantly reinforces just how outdated, ridiculous, and sick this family tradition really is.

The original score completes the movie's irony in a subtle, highly sarcastic way. The composer uses classical, polished, and serene instrumental melodies to mock the aristocracy that is losing its mind and killing each other in such dirty, beastly ways in the hallways. It's the sound of luxury clashing with the image of barbarism.

But the sound design itself is what shines the brightest in building technical tension when the direction falls short. The creaking of the old floorboards, the tense zip of arrows slicing the air near the protagonist's face, the muffled crack of gunshots, and breaking bones-all of this fills the dense silence of the house and drags you right into that intense, painful night.

At the end of the day, the experience feels like a fast, but slightly derailed roller coaster. The movie loses some valuable points for keeping its class critique shallow and for letting the slapstick comedy tone overshadow and run over the suspense during crucial moments of the plot.

But even slipping up on those important details, Samara Weaving's absurd charisma and that explosive, stupidly brave climax make up for every minute you invested in the ride. It's the kind of movie that embraces what it is and delivers an extremely cathartic popcorn flick, made to entertain without weighing heavy on anyone's conscience. Get the couch ready, call your friends, and find out for yourself if you'd have the stomach to survive a wedding in this family.

This is a deeply silly premise, but they play it more or less completely straight, and with the casting and directing being this good, it comes off as a completely sincere take on something outrageous. The ending is one of the best in recent movie-goes history. I can whole-heartedly recommend this, if nothing else then for the casting.

Dean

Ready or Not (2019) is a brilliant, high-energy fusion of dark comedy and survival horror that breathes fresh life into the "most dangerous game" trope. The film excels by taking the universal anxiety of meeting the in-laws and escalating it into a literal, blood-soaked fight for survival within a sprawling, gothic mansion.

Samara Weaving delivers a powerhouse performance as Grace, evolving from a confused bride into a gritty, resilient survivor. Her descent through the literal and metaphorical filth of the Le Domas family estate is both harrowing and darkly hilarious. The film’s greatest strength lies in its tone—it manages to be genuinely tense and violent while simultaneously skewering the absurdity of "old money" traditions and the incompetence of the entitled elite.

The production design is lush, utilizing the labyrinthine hallways and candlelit rooms to create a claustrophobic yet grand atmosphere. While the central mystery of the "curse" keeps the stakes high, the sharp writing and eccentric supporting cast ensure the momentum never falters. It is a stylish, savage, and immensely satisfying ride that stands out as one of the best horror-comedies of its decade.

What to think about this one...

I'm not totally sure how I view <em>'Ready or Not'</em>. There are elements to it that I love, things I would've liked to have played differently and one bit that I kinda hated. I'll start with the big positives: Samara Weaving and the visual of Samara Weaving. How epic does Grace look by the end of the movie? So good! Weaving herself gives a brilliant performance, easily the star of the show.

Now for the parts I'd change, admittedly I haven't thought it through properly so probably wouldn't have made sense, but I digress. Based on the early knockings, I could sense the obvious rift in terms of support that the characters had for 'the event'. I would've loved if we had a civil war-esque situation develop, you could've had basically everything that still happens in the film but Grace, Alex, Daniel and Becky vs. the rest would've been cooler and more eventful imo.

As for the bit I disliked: it involves Mark O'Brien's Alex at the end. What an utterly woeful twist, a twist for the sake of twisting. It was quite something how my interest in the movie left me in that exact moment, I don't think a film has lost me that sharply before. So stupid and unnecessary.

However, there is a caveat to that. The flick, in fairness, kinda won me back shortly after with the actual conclusion. The 'pops' are amusingly ace, while the final line of Weaving's Grace is a good'un. I just wish that aforementioned issue with Alex didn't happen, because it has altered how I feel about this; albeit, I think, after judging it as an overall, I can still class this 2019 picture as very good.

Filipe Manuel Neto

**The evil of money, a brutal carnage and a marriage for love in a movie of ups and downs.**

How many times we, common contributors, do not think of the hypothetical dark side that would like to exist in those rich families of business, politics and the arts? For many people, envy is very natural. Others, like me, are more concerned with the lawful origin of fortunes (what matters to me is that the rich honestly earn their money, the rest I feel it does not concern me) and others think that, since money is so earthly and perhaps evil, all great fortunes have some dose of perversity. Unlike people like me, who face money as a tool that can be well used or not, there are a lot of people who associate this malevolent load with money.

This movie begins around this wealthy family and creates a story of Satanism, carnage and lack of scruples. Everything is set on the wedding of the Patriarch's firstborn son. The young bride, for his family to accept her, will have to play a mysterious traditional game that they all have to play at a given moment. A crazy initiation ritual in a hunting room full of weapons and embalmed animals. What follows is the predictable carnage. And I say predictable because the movie is stupidly easy to guess, which is the weak point of the plot. As a horror movie, it will only work for those who have a weak stomach for bloody scenes: yes, the movie has a lot of gore, but I've seen worse.

Technically, the movie has its ups and downs. Taking advantage of the places that the production has achieved to shoot in Canada, including a famous museum-mansion, sets and costumes are excellent and worthy of a much more expensive thing. It is not a low-budget movie, it is obvious the producer has invested in the project, but it does not seem to be the first bet for a movie season: convincing and effective visual and sound effects help a lot and the editing was well performed. The soundtrack has its moments, but in contrast, cinematography is excessively trembled and occasionally poorly framed.

With such apparently heavy bets, it was a shame to feel the production went to seek a third-ranking cast. The protagonists are not bad, but they lack the experience of first water projects with more calloused colleagues: Samara Weaving made a secondary character in “Three Billboards…”, Mark O'Brian went to do another in “Arrival” and Adam Brody participated In “Mr. & Mrs. smith ”, but it's that. They are actors competing for their space in the sunlight, a rightful desire, but without experience and perhaps a little raw. Truth be told, the movie also does not give them challenging characters or complex situations. The best actress here is Andie MacDowell, but it is far from showing the qualities we saw in her oldest work. Canadian Henry Czerny does what he can and is remarkable, but cannot save the movie alone.

The Movie Mob

**In a world of remakes, Ready or Not brings a bold new take on fun old horror.**

It’s no wonder Ready Or Not’s directing duo was asked to take over the Scream franchise. This film has Scream’s dark humor dripping from every kill, every snarky one-liner, and every fully embraced horror trope. Ready or Not is a beautiful mixture of Scream, Clue, and The Most Dangerous Game, all held together by Samara Weaving’s fantastic performance. Bettinelli-Olpin and Gillett are the masters of taking over used horror tropes and using them to tease and subvert expectations creating dark, fun, and tense movies that delight any horror fan. Ready or Not does just that with a story that feels familiar and surprising, recognizable and innovative, resulting in an original slasher filled with charm and chills.

Martha

Drawn out to absurdity... Predictable and long winded.

CinemaSerf

When "Grace" (Samara Weaving) marries "Alex" (Mark O'Brien) she thinks it will be the happiest day of her life. Gathered at his family's sprawling mansion, the ceremony is followed by a small dinner at which "Tony" (Henry Czerny) announces that it is traditional on such occasions to play a game. A game of hide and seek. A lethal, deadly and downright dangerous game of hide and seek with poor, unsuspecting, "Grace" the target. The family count to two hundred then set off with all sorts of weapons (they cannot use guns nor the house's security cameras) to eliminate her. With her newlywed husband securely tied to the bed after he tried to help her, and still clad in her wedding dress, she must find a way to avoid execution and escape the grisly fate that awaits her. Luckily for her, "Dan" (Adam Brody) is a little less sold on the game so perhaps, just perhaps, she has a chance? Weaving reminded me a little of Margot Robbie as she gradually adapts to her perilous scenario, and what ensues is actually quite entertaining with some fun contributions from the pursuing family - "Becky" (Andie MacDowell) and "Charity" (Elyse Levesque). The film looks good, is well paced after a shaky start and a house riddled with secret passages provides an solid template for the drama to unfold. It does have something of the theatrical to it, but that's quite effective as it builds to quite an enjoyably fitting conclusion. It's not laugh out loud, but is certainly worth ninety minutes of your time and is way better than the contemporary, silmilarly styled, "Knives Out".

⭐⭐⭐⭐
Good solid entertainment. Nothing really special, or twisty, but a great execution (unfortunately rare these days). This is how movies like Boss Level or Wrath of Man should've been made. 

* Short runtime ✅
* Never slows down ✅

Repo Jack

The excellent Samara Weaving is the antithesis of a scream queen. With kick-ass roles in "The Babysitter," "Mayhem," and "Guns Akimbo," she is vying with Harley Quinn as the "vixen" of modern cinema. An outrageous story with just the right balance of camp and horror, "Ready or Not" is a fun romp through the worst-ever wedding night.

Kamurai

Fantastic watch, will watch again, and do recommend.

This is such a great crazy, survivalist premise: an average lady that just wants to marry her man gets served up into a human hunting game, and she's a bad ass.  Samara Weaving nails every aspect of this role.  I did recognize a couple other actors: Melanie Scrofano (Wyanna Earp), Adam Brody, and Andie MacDowell, but none of the family really stands out other than Melanie, and that is more of circumstance, but they put the right person in that role at least.

The setting is limited to the estate grounds, but even if they built the sets for that place, it is bloody amazing and lends to the visuals both when they're displaying the house as being expansion and when they're showing it as a trap.

I'm actually short on words to why it is as good as it is, the writing is top notch and the set it great, but the acting is only good (other than Samara), and there aren't huge effects.  Maybe it's the subtly of the effects they do show, and the details they go into in both presentation of the scene and the chosen dialogue.  This movie definitely creates a permeable atmosphere for the audience.

If you're okay with blood / gore / violence, then give it a go, it should be a good time.

Gimly

I've never kept it secret that I have a personal issue with Samara Weaving, but I try to keep things like that out of my mind, and, even though I know it's impossible to be truly objective about something as subjective as art, at least attempt to be **impartial**. And bearing that in mind, _Ready or Not_ is... Okay. Pretty good even. Disappointing, if I'm honest, given the hype and the trailer, but still. Pretty good. 

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._

Fun little horror-thriller-(dark)comedy that was entertaining enough and features a great performance from Samara Weaving, who has similar command of the scene like her uncle. Story-wise, not groundbreaking but as someone who generally doesn't enjoy dark comedies, this one worked for me. **3.5/5**

SWITCH.

‘Ready or Not’ doesn’t sport as many laughs as you'd want for this ridiculous story, nor is it dark enough to be a true horror; it's just gory and violent with the occasional jump scare and anxiety-ridden scene. So while it doesn’t meet expectations or desires, it’s still a fun, thrilling, wicked romp through the blood-soaked mansion and goat barn. 

So prepare yourself for squeals of fear, squeals of delight, squeals of patriotism and the occasional giggled “WTF!?”... because here it comes!
- Jess Fenton

Read Jess' full article...
https://www.maketheswitch.com.au/article/review-ready-or-not-not-quite-horror-not-quite-comedy-but-a-wickedly-good-time

Stephen Campbell

**_An entertaining horror-comedy that takes aim at the decadence and insularity of the 1%_**

>_So distribution should undo excess,/And each man have enough._

- William Shakespeare; _His True Chronicle Historie of the life and death of King Lear, and his three Daughters. With the vnfortunate life of Edgar, sonne and heire to the Earle of Gloster, and his sullen and assumed humour of Tom of Bedlam_, 4.i.73-74 (1605-1606)

>_In the long run, men inevitably become the victims of their wealth. They adapt their lives and habits to their money, not their money to their lives. It preoccupies t__heir thoughts, creates artificial needs, and draws a curtain between them and the world._

- Herbert Croly; _The Promise of American Life_ (1909)

>_I don't want to be married just to be married. I can't think of anything lonelier than spending the rest of my life with someone I can't talk to, or worse, someone I can't be silent with._

- Mary Ann Shaffer; _The Guernsey Literary and Potato Peel Pie Society_ (2008)

On August 3, 2018, Patrick Crusius murdered 22 people and injured 24 in a mass shooting in El Paso, TX. Just over 12 hours later, Connor Betts murdered nine people and injured 17 in a mass shooting in Dayton, OH. On August 10, Universal Pictures announced they had pulled Craig Zobel's eagerly awaited film _The Hunt_ from its scheduled release date on September 27. Telling the story of 12 strangers who are hunted for the amusement of a group of wealthy elites, in the wake of the shootings, the film had been accused by hysterical conservatives of portraying liberal elites hunting Donald Trump supporters. On August 7, for example, Matt Margolis of _PJ Media_ wrote,

>_in the past few days we've been hearing a lot about how Donald Trump's rhetoric is apparently to blame for the El Paso shooting, yet Hollywood apparently lacked the foresight to think that a movie promoting violence against "deplorables" might be in bad taste until after the shootings in El Paso and Dayton._

He also claimed, incorrectly, that the film was originally called _Red State Vs. Blue State_, before concluding,

>_apparently, some in Hollywood are more than willing to promote violence against Trump supporters. Meanwhile, Democrats and liberals in the media want us to believe that it's Trump's rhetoric that needs to be toned down._

On August 9, Trump himself tweeted, "_the movie coming out is made in order to inflame and cause chaos_" (as opposed to his own balm-like rhetoric, which is renowned for bringing people together), saying of Hollywood in general, "_they create their own violence, and then try to blame others. They are the true Racists, and are very bad for our Country!_" (because responding to a mass shooting by condemning a film you haven't seen makes way more sense than, oh, I don't know, tightening gun laws and outlawing the indefensible sale of automatic weaponry to the public. Way more sense).

So, what does any of this have to do with _Ready or Not_? Well, it's just curious that _Ready or Not_ has a very similar plot (elites hunting common folk), yet it has arrived in theatres without the slightest hint of controversy. Of course, despite what right-wing commentators would have us think about _The Hunt_, the theme of elites hunting the less privileged is nothing new. As far as I'm aware, it was first explored in Richard Connell's short story "The Most Dangerous Game" (1924). And now in _Ready or Not_, except with tongue firmly in cheek. Written by Guy Busick and R. Christopher Murphy (aka Ryan Murphy), and directed by Matt Bettinelli-Olpin and Tyler Gillett, _Ready or Not_ is a horror-comedy and a social satire that comically exaggerates the anxieties attendant with marrying into a wealthy family and mocks the insular nature of such families, so obsessed with their wealth that they've become disconnected from the real world. And whilst it can be a tad episodic at times, and the manner in which it presents some of its violence is somewhat problematic, this is a very enjoyable and funny film that's well worth checking out.

After a brief prologue, the film cuts to the wedding day of Grace (an exceptional Samara Weaving) and Alex Le Domas (Mark O'Brien). The Le Domas family started out printing playing cards but earned its fortune making board games, and the family has now become decadently wealthy, owning several sports franchises (when Grace asks Alex if they refer to themselves as an "empire", he half-jokingly says they prefer the term "dominion"). Several years previously, Alex turned his back on the family, even though he's in line to inherit the business, and it's only since he met Grace (a foster child eager to have a family to call her own) that he has started to rebuild bridges. His return to the fold has made his mother Becky (Andie McDowell) especially happy, and she makes sure Grace knows how appreciative she is. Alex's father, Tony (a barely sane Henry Czerny) is more ambivalent; he's polite and respectful to Grace, but she's convinced he doesn't like her. There's no such ambiguity with Helene (a hilariously acerbic Nicky Guadagni), Tony's sister, who makes no bones about the fact that she hates Grace. Elsewhere there's Alex's brother Daniel (Adam Brody), an alcoholic locked in a loveless marriage to Charity (Elyse Levesque), but who is deeply thankful that he has Alex back in his life. Offering Grace a get-out-of-jail card just prior to the wedding, Alex tells her if she wants to leave, he will let her go. She dismisses the offer, however, and the two are wed. Shortly thereafter, Alex and Daniel's cocaine-addicted sister Emilie (a wonderfully hapless Melanie Scrofano) and her husband Fitch Bradley (a scene-stealing Kristian Bruun) arrive at the estate, apologising for missing the ceremony. It's at this point that Alex explains a strange family tradition to Grace – whenever someone new marries into the clan, they must participate in a game, chosen at random by a mechanised box using a deck of cards (Charity got checkers when she married Daniel). Alex is worried that Grace might get the hide and seek card, but Tony assures him that's highly unlikely – stating that in his lifetime, only one person has ever gotten that card; Helene's husband (something of which we saw in the prologue). At a disturbingly austere ceremony, Grace is asked to operate the box and so the game can commence…and she receives the hide and seek card, with Tony explaining that the only way for her to win is to stay hidden until dawn. And so, Grace hides in the mansion, unaware that the family (_sans_ Alex) are arming themselves with crossbows, axes, hunting rifles, and assorted antique weaponry. This is no ordinary game of hide and seek.

The film's various psychoanalytical/satirical subtexts are fairly obvious – a lampooning of blue blood families clueless as to how the real world works, a savage deconstruction of the institution of marriage, and a gynocentric/fempowerment celebration of a woman fighting back against old-world patriarchy. In relation to these last two themes, nowhere are they more apparent than in Grace's wedding dress, that most classic symbol of marriage, which becomes dirtier and more damaged as the film progresses, with costume designer Avery Plewes using the dress to show the stages of Grace's symbolic dismantling of the institution of marriage (to survive the night, she must make the dress more conducive to running and hiding, which involves a lot of ripping and tearing). In this sense, each time Grace evades capture or strikes back against her pursuers, she is chipping away at the foundation of everything in which the Le Domas family believe, quite literally deconstructing the very concepts of marriage and old-world patriarchy.

Concerning the film's engagement with wealth, essentially it suggests that, yes, as we all know, the rich are very different from you and I, but could it be that not only are they different, maybe they're actually evil? Maybe their wealth is built on the suffering of others in a very literal sense and maybe the difficulty they have accepting it when someone who they see as their social inferior marries into their circle manifests itself in actual violence. Of course, it's not suggesting this with anything even approaching realism, and much of the film's humour comes from the Le Domas family itself; sure, they're wealthy, evil, violent, and powerful. But so too are they hilariously incompetent. For example, it's been so long since anyone has got the hide and seek card that everyone is a little fuzzy on the rules, and they spend a good chunk of the film arguing with one another about the hunt – people like Fitch and Charity want to use modern weapons, but Tony maintains they have to use antique weaponry, nor are they allowed to use the castle's security cameras to track Grace.

This all goes back to a century-old deal made between the family's original patriarch Victor and a mysterious traveller named Mr Le Bail, who may, or may not, be Satan. Le Bail promised Victor that the family would become hugely wealthy, but only if they maintained the tradition of having new family members play a game on their wedding night, laying out the rules for what was to happen if they got the hide and seek card. Tony argues that the rules can be no different from those originally established by Le Bail, but, really, his argument never amounts to much more than "_tradition...reasons_". The film makes no bones about the fact that the family is comically inept, and it gets a lot of laughs out of showing characters trying to get to grips with their weapon – from Fitch taking time out from the hunt to look up "how to use a crossbow" videos on YouTube to Emilie accidentally dispatching several maids due to her inability to handle her weapon (more on this in a moment).

Another theme, although one not developed to the extent of the above, is religion. Le Bail, for example, is believed by the family to be a demonic figure, and his name, obviously enough, is an anagram of Belial, the demon from the Tanakh, who is described in _The War of the Sons of Light Against the Sons of Darkness_, one of the Dead Sea Scrolls, as the "King of Evil" and the "Prince of Darkness", and who would later form the basis for the Christian and Jewish depiction of Satan. On the other hand, Grace's name most likely references the idea of Divine grace, which is defined by _ChristianEducation.org_ as,

>_a sharing in the divine life. It is the infused presence of God, a presence that is supernatural, not merely natural. Human persons are not born in a state of grace. And there is nothing we can do ourselves to earn grace. Rather, divine grace is favour, and it is freely bestowed._

Elsewhere, the film depicts a pit of slaughtered goats, alluding to ritual animal sacrifice, which is a pre-Christian practice. Goats are also important in Christianity, especially in the practice of scapegoating, whereby a goat takes upon them the sins of the community and is cast into the desert, symbolically removing the taint of those sins (as per Leviticus 16:8-10; "_Aaron shall cast lots upon the two goats; one lot for the LORD, and the other lot for the scapegoat. And Aaron shall bring the goat on which the LORD's lot fell, and offer it as a sin offering. But the goat, on which the lot fell to be the scapegoat, shall be presented alive before the LORD, to make an atonement with him, and to let him go for a scapegoat into the wilderness._") Along the same lines, Grace injures her hand on a nail, in a veiled reference to the Stigmata. However, whether or not we're supposed to interpret her as a Christ figure is hard to say as, although these references are interesting in isolation, they never really coalesce into anything concrete.

Looking at some other problems, despite its themes, the film is, generally speaking, very slight; it's short and it's silly, and it's not going to change your life or lead you down the road of esoteric revolution. The violence is also (somewhat) problematic. The film maintains the stance that the rich are insane and the violence they mete out is contemptible. However, some of the biggest laughs are reserved for Emilie's accidental killing of the maids. And I have to admit, I found the way she haplessly dispatches two of them exceptionally funny (especially her comment after the second one, "_why does this keep happening to me_"). Also funny is that after one of the kills, the family are trying to have a conversation, which is continually interrupted by the gurgling of a mortally wounded maid; until Helene takes an axe to her head. And again, I have to admit, I laughed a lot at that scene, even though I recognised that the film was essentially asking the audience to see this violence as funny but some of the violence elsewhere as not so much.

In this sense, it kind of wants to have its cake and eat it. In _Natural Born Killers_ (1994), Oliver Stone gets away with asking the audience to laugh at horrific violence because he's fairly consistent in depicting all violence as funny (whether it's being shot by a bullet that stops in mid-air, getting drowned in a fish tank and simultaneously beaten with a tire-iron, having a perfectly circular hole shot through your hand, or having your head literally ripped off by rioting inmates). Here, the film picks and chooses when the audience should laugh; it takes Grace's stakes seriously but also encourages us to laugh at some (and only some) of the violence, which is problematically inconsistent.

Nevertheless, as I said, these scenes did make me laugh, so make of that what you will (it may say more about me than the film). Although _Ready or Not_ is slight, its satirical ire is focused, even if the tendency towards irreverence doesn't always chime with the tone of the socio-political agenda. Is it the greatest horror-comedy of all time? Good Lord, no. Indeed, it doesn't have much in the way of scares at all. But it sure is funny, allegorically skewering inherited wealth, marriage, tradition, even religion on occasion. With atavistic rules and sense of entitlement, the Le Domas family embody the concept that old-money can lead to an insularity from modernity, preventing the work-a-day world from entering their gated estates. Offering us a match, the film suggests that perhaps the only way to deal with such irrelevancies and their sense of self-importance is to burn them to the ground. And it has a blast showing us why.

Manuel São Bento

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Once again, I didn’t know anything going into the theater regarding this movie. In fact, Ready or Not wasn’t even on my watchlist until the beginning of this week. I thought it was just going to be a passable and cheap horror flick, but the tremendously positive feedback from everyone around the world convinced me to give it a go. Fortunately, I wasn’t disappointed! Matt Bettinelli-Olpin and Tyler Gillett deliver a dumb yet entertaining film with a childish yet fun concept never really explored in the gruesome and bloody way they do.

It’s one of those movies which the only flaw they might have has to do with the viewer’s expectations. You’ll only dislike this story if you don’t accept its lighthearted tone. If you go in expecting a film filled with truly terrifying and scary sequences, you won’t get that. If you go in expecting a movie with a dark vibe and tonally heavy scenes, you won’t get that. It’s one of the most common issues that audiences have all over the world: unrealistic expectations. After watching the trailers, it’s clear that Ready or Not was always marketed as a horror-comedy with more emphasis on the dumb fun that the concept inevitably provides, so don’t expect something the producers didn’t even think of doing.

Having that in mind, the film definitely delivers what it promises. It’s a fast-paced hide-and-seek game, filled with suspenseful scenes and genuinely funny moments. Its short runtime doesn’t really let us care about every character, but to be fair, it’s not like it truly matters in this case. Samara Weaving plays the bride who has to hide while the rest of the family tries to find her. Overall, everyone gives good performances, but Weaving completely steals the show with fantastic reactions to different situations, always making space for an extra laugh.

Despite the unique exploration of a strange premise, it has a pretty generic and even formulaic development, which is a bit of a letdown. Granted, the ending is, well, unexpected in the way that it is executed, but its final result is still very predictable. There’s a lot of cheesy moments, some do work, but others aren’t near as effective. The score is actually one of the surprises since it’s not usual for this feature to have such an impact in a rather simple movie. It provides a few chuckles with some witty lyrics, and it helps with elevating the suspense in the more tense sequences. It’s also mostly well-shot and set in one-location, something I always deeply appreciate. 

All in all, Ready or Not accomplishes exactly what it set out to do. It delivers a fun and entertaining 90-minute hide-and-seek game like we’ve never seen before. Its R rating lets its makers do whatever they please with the amount of blood and goriness present in a scene, which ultimately culminates in a jaw-dropping, hilarious ending. Samara Weaving is brilliant as the main character, carrying the whole film on her shoulders. Is it cliche? Yes. Is it formulaic and predictable? Yes. Is it cheesy? Hell, yes. However, this movie never intended to be a groundbreaking achievement in the genre. It just wants to deliver good fun. And it does.

Rating: B-

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