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At first, it sounds like an unfortunate coincidence, in the way that Alex Le Domas (Mark O'Brien) looks a little like President Jared Kushner: pale, with overdressed hair, barely hiding an expression of embarrassment. (Not quite as striking as Kushner's resemblance to Brahms, a deadly boy doll, but close enough.) Alex sets up a more affable and convincing front, mocking his future wife Grace (Samara Weaving) the day their marriage and murmuring desolately. inflicting his lousy family. But there is clearly something sinister (or knowing the same thing) behind his worried eyes.
Her family's empire – or "domination," corrects Grace with a half-joking joke – is not real estate, but gambling. The Domas clan has gone from playing card printing to production of board games, possession of sports franchises, and their old driving money is what Grace says explains the sullen and ruthless faces that surround her before and during the wedding ceremony. Grace, on the other hand, is a foster family (although the movie does not explain why she does not seem to have friends) and is eager to integrate with Alex's family, even though is a group of sour-faced rotters.
Grace's family desire makes her particularly fit when Alex explains one of the foreign rituals: After the wedding, which is held on the family estate, Grace has to draw a card and play all the games that are inscribed on it. When she hides, Alex's face falls. While Grace tries to hide, Alex observes his depressed brother, Daniel (Adam Brody), his seemingly affordable mother, Becky (Andie MacDowell) and his overbearing father, Tony (Henry Czerny), the family, gather a variety of items. ; weapons. They intend to hunt down their new in-laws, wound her, capture her, and perform a ritual massacre that will supposedly allow them to retain their wealth and power. At one point, one of the characters lets slip a dummy cliché: "That's right. The rich are different. "
As a comic black satire of immoral percentages, Ready not ready is not particularly insightful (another provocative example: "Fucking rich people!"), and not particularly spiritual. It's the kind of genre film that seems to think that his characters who throw profanations are, on one level, a transgressive act in themselves, and that the horrible burlesque of his death scenes are only purple colors. But filmmakers have a clever idea of how to level the playing field when the hunt begins: The Domas family may be rich, powerful, evil and ruthless, but it is also obviously, sometimes fatally incompetent. This planned sacrifice is just an occasional ritual, which means they are rusty on details. Together, they spend a lot of time debating which rules of the tradition are really needed (only conventional weapons can be used? What about surveillance cameras?) And videos on the subject. YouTubing instructional crossbow.
Weaving's performance is both charismatic and visual against venal and accomplice family members. Directors Matt Bettinelli-Olpin and Tyler Gillett light up the faces of his co-stars to bring out the shadows, while Weaving's large expressive eyes and smiling teeth have an even brighter contrast. The visual tricks complete its immediate appeal, which the film avoids hardening by posing awesome badass. At the beginning of the game, Grace sees herself in the mirror, still dressed in her wedding dress but now armed with a shotgun, a scarf of ammo and sneakers exchanged for heels. There is a moment when she seems to look with pride at her metamorphosis of action hero, but she is struck by the chilling absurdity of her battle-ready image.
His moment of hesitation gives a few nuances to a film that generally advances ahead, towards bloody murders, near-misses and the inevitable crossbow accidents. Given the speed, it is surprising to realize that filmmakers are not more eager to cut to develop lawsuits. The multi-room mansion seems to have been made to measure for the shooting scenes, but there are some memorable sequences of tension and / or horror, Ready not ready is at once more talkative and talkative than necessary. At least, it looks great: the colors and shadows of Brett Jutkiewicz's cinematography are rich and saturated, a digital imitation of the film that convinces in an unusual way.
It is a bit disconcerting that the women in the film suffer a higher number of both caricatural and hard-hitting deaths than men; The only member of the family who gives a dimension and even a pathos is the sardonic Daniel desperately discrete, well interpreted by Brody. The charitable reading is that Ready not ready understands the extent to which acquired rights do not know gender – that the only way to break the arbitrary and destructive apprehension of the super-rich is to suppress it or even to light it. So no, not a subtle movie. But quite satisfactory.
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