The future of the Fox Searchlight brand is under question after the Fox studio was bought over by Disney; certainly, it’s hard to see how such a red-in-tooth-and-claw comedy-thriller with Satanic overtones like Ready or Not might fit into the wholesome Disney brand. Directed by Matt Bettinelli-Olpin and Tyler Gillett from a screenplay by Guy Busick and R. Christopher Murphy, Ready or Not is a horror film in the idiom of Get Out, and features a young couple whose mutual distrust grows during her introduction to his rich and powerful family. But the two films are very different in tone, with Ready or Not featuring a brisk and busy evocation of country house mayhem that’s in tune with the recent Knives Out. There’s an agreeable Gothic flavour that hints at the supernatural elements which are accentuated as the plot develops.
Things starts innocuously enough; Samara Weaving is Grace, who arrives at the house of the Le Domas family with her prospective husband Alex, played by Gilmour Girls star Adam Brody. The Le Domas family have made their fortune from board games, and Grace is happy with the idea of taking her place at the family table, until it emerges there’s a ritual to complete. A game must be played, and Grace must pick a card at random; the one she chooses dismays the family, as it says “Hide and Seek’. This means that Grace must hide, and the rest of the family must seek her out, but the stakes are higher than is immediately apparent, and one shocking act of violence leads to another.
The end of this decade has seen an increase of films that view the rich as something other than a club that inspires us to join; we don’t admire the Kardashians, we hate them because we sense that their good –fortune is built on the back of our own pain. The rich and affluent are uncovered as preying on the other echelons of society, and Ready or Not is suffused with tart social criticism. The violence is spiky, the narrative manages some clever slight of hand, and clichés of the Most Dangerous Game variety are generally turned on their heads. Early on, Grace views herself in the mirror, her wedding dress torn and blood-splattered, an ammunition belt around her waist; niceties have been damned, and she sees herself clearly for the first time as a warrior in a battle for her class.
Ready or Not was a sizeable hit, but didn’t reach the huge audience it deserved; the box-office numbers of a Get Out or a Halloween should have been the reward for such an original and satisfying film. An illustrious history on streaming awaits; Ready or Not is a super-smart B movie that offers a dark, splattery note on the margins of society’s growing divisions circa 2019.