Ready or Not, a film directed by the relatively unknown Matt Bettinelli-Olpin and Tyler Gillett, is a big foam middle finger to the wealthy and conservative elite that are running our country. It’s the kind of film that steadily, and humorously, builds to a cathartic release of anger and frustration in the form of violent comeuppance that will make you want to literally stand up and clap like a fool. It’s exactly the kind of movie you need after a hard, long news day (AKA every day).
The film follows Grace (played by the underrated…actually maybe ‘not yet rated’ is a better term, Samara Weaving) as she prepares to marry Alex Le Domas, he of the “richer than God” Le Domas family whose wealth is built around a board game monopoly (not the board game, Monopoly, but a monopoly OF board games). Oh and also funded by a dead spirit named Mr. Le Bail, minor detail.
Except it isn’t! Because per the deal that great-grandad Le Domas made with Le Bail, the obscene wealth and success of the family will only continue to be passed down through the generations under one stipulation, anyone who marries into the family MUST have a game night with the family on the night of their wedding.
GASP! BUT THAT’S WHEN THE COUPLE IS SUPPOSED TO BE BANGING FOR THE “FIRST” TIME!
(Alas, those of us who are married know that’s not how it really works. I, for one, beat my wife at Mario Kart the night we tied the knot. That’s…that’s not a joke.)
Back to the plot! Not only does the newly married person have to play a game with their new family but there’s a slight chance that the person will have to be sacrificed to Satan if they draw the wrong card. The ‘hide and seek’ card to be exact. Talk about drawing a bad hand.
Of course Grace pulls the hide and seek card because otherwise the movie would be pretty dull if we just watched a rich family beat each other at checkers for two hours. And now she must deal with the consequences of drawing the worst hand (outside of a 2 and 7 off suit in hold ‘em of course) by hiding while the family loads up guns and crossbows.
Except there is one small detail, SHE DOESN’T KNOW THE CONSEQUENCES. That’s right, the dude she loves decided to buy a ring, pop the question, spend thousands of dollars on flowers, and decides it’s not important to inform his soon to be wife that she is soon to be dead! Men, am I right?
Grace is left to her own devices and has to learn to traverse the many hidden passages of the unfamiliar Le Domas mansion. Luckily for her the Le Domas’ incompetence is threatening to derail their home field advantage.
That’s right, there are four things that makes this movie worth giving up two hours of your life for: a simple and engaging premise that delivers numerous scenes of true terror and intensity and is balanced by a self-awareness of its own ridiculousness. But the best aspect is that the old white rich family is completely daft and hopeless.
Many horror movies build themselves around a villain that is unconquerable. And why not? What’s scarier than true hopelessness? What sets Ready or Not apart is the villains are truly terrible. Both morally and murder skills wise. You laugh as these numbskulls, born with silver spoons in their asses, bumble around the house possibly more terrified than the person being hunted. You laugh because it feels far more realistic that a rich person who doesn’t even do their own laundry or fill their own gas, can’t manage to hunt down a small, unarmed woman.
The wealthy family being ill-equipped at murder brings a sense of humor that connects directly with the endorphins in your brain. It allows the audience to point and laugh at the helpless rich people, it provides a rare sense of power over those who control our world if only for two brief hours. It’s dark humor, sure, but it’s also good humor. In an alternate universe without Get Out and Us, Ready or Not is the horror movie you would have thought was directed by Jordan Peele because it feels like an expanded Key and Peele skit mixed with the deeper meanings of Peele’s real work.
The beauty of Ready or Not is it brings a sense of relief to the audience. It doesn’t bother with subtext or allegories because it is glaringly obvious what the writers are trying to say: rich people don’t play by the same rules and they would rather sacrifice your life than lose their power. And this overt message mixed with the cathartic release of the climax provides EXACTLY what we as an audience need in this day and age, a good laugh and a giant middle finger to the man.