Marriage is not something to be taken lightly. Not only is there the traditional “for better, for worse; for richer, for poorer; in sickness and in health; to love and to cherish; till death do us part. . .”, but with rising divorce rates, it is more important than ever to be confident in your relationship before taking the plunge. Flipping marriage on its head, 2019’s Ready or Not is a unique comedy-tinged horror film – a rom-com this is not. . . it may also make you rethink those sacred vows.
Written by Guy Busick and R. Christopher Murphy and directed by the team of Matt Bettinelli-Olpin and Tyler Gillett (better known as members of Radio Silence – third member Chad Villella is also on hand to executive produce), we are immediately put on our guard as we watch a violent flashback that hints at the unlikely flourishing of a present day couple – foster raised Grace (Samara Weaving) is marrying into the famed Le Domas family – with wealth, traditions, and more than a few dark secrets.
Earning their family fortune from manufacturing playing cards, which spun into board games, and eventually owning sports teams, they are a quirky and oddball group. Seen through the eyes of modern Grace, she melts around soon-to-be husband Alex (Mark O’Brien), though spots the irregularities as well – his unhappy alcoholic brother Daniel (Adam Brody) and cold and ironically named wife Charity (Elyse Levesque), coke fuelled Emilie (Melanie Scrofano) and goofy husband Fitch (Kristian Bruun), patriarch and matriarch Tony (Henry Czerny) and Becky (Andie MacDowell), and, perhaps more than anyone else, the evil eye throwing Aunt Helene (Nicky Guadagni).
Told after the ceremony that one of the family’s many traditions is to play a game at midnight, Grace unwittingly walks into a Most Dangerous Game (Richard Connell’s 1924 short story is definitely one of the inspirations for this tale).
Now numerous generations on from the genesis of their wealth, their ancestor, Victor, supposedly made a Faustian bargain with a demon named Le Bail – which is what they believe is behind their long lasting prosperity. On top of slaughtering goats (and chanting satanic verses in Latin), a further deal stipulates that each new family member must draw a card – which will be the game they must play. It could be chess, or old maid, or, if fate is against you, the dreaded ‘hide and seek’ card.
As these things go, Grace unluckily pulls the card, and, unbeknownst to her (at least, at first), this means that the family must hunt her down by dawn as a sacrifice to Le Bail (a seat of honour remains empty for him in their expansive house).
Fascinatingly, well over one hundred years after the original bargain, the family is split on what to believe. There are the diehards, the skeptics, and the confused. Is it all bullshit, or, if they fail to succeed, will they die by dawn (almost like a vampire burning in the sun)? Yet, despite this, they all tow the line. . . hunting her in their historic estate (not only encompassing fabulous library and wood panelling, but also secret passages and weapons room. . . as well as the ability to lockdown the entire mansion).
Yet, this family, steeped in tradition, play by a certain set of rules. Tasked with completing their mission as if it is the time of their ancestor who made the deal with the devil, they must shut off all electric devices (cameras, landline phones. . .) and must use only nineteenth century or prior weapons (crossbow, ax, historic gun. . . you get the idea) – much of the comedy coming from their inept ability to use these murderous devices. Likewise, they probably expected some sort of wispy willow, never bargaining that they would have to deal with a wily, prone to survive, fierce fighter of a foster child. A great finds patriarch Tony frustratingly complaining at his family’s lack of skills. . . somewhat reminiscent of William Hurt’s angered annoyance at his security detail in the classic scene found in David Cronenberg’s A History of Violence. It is at this point that the acting must be mentioned, for each actor is impressively sharp, bringing the characters found on the page to life, playing off of archetypes and stereotypes in unique ways – including butler Stevens (John Ralston). . . a classical music loving employee wholly loyal to the family.
Though it is steeped in a certain tradition, above and beyond the aforementioned Connell short story, you will see connections to classic films like The Cat and the Canary and Hold That Ghost (albeit, with a lot more blood). . . it also plays a bit like an edgier combination of a Scooby-Doo and Supernatural episode (Scoobynatural). Conversely, it is its own beast, finding a twisted comedy in death and destruction, much horror in its subversive premise, memorable moments in every twist and turn.
Mostly shot with practical effects, this modestly budgeted motion picture looks stunning. Filmed with a traditional old world glow – the candles flicker, the constantly polished wood surfaces shimmer, and the costumes wow. Likewise, every death looks authentic (mostly thanks to clever camera tricks and limited CGI), with the added bonus that they are also creatively cheeky – walking that tightrope between hilarious and darkly disturbing.
Unlikely that you will ever see ‘hide and seek’ in an innocent way again, Ready or Not is an excellent horror comedy with sharp story, excellent visuals, and entertaining acting. Though at times gory, it all plays into the essence of the narrative – and should appeal to a wider audience than simply horror fans. So, make a pact to see this explosive picture, and discover if this fiery heroine can divorce herself from her present situation.