Review: Ready or Not is a grim comedy to argue.

"Honestly, I can not wait to be a part of your moderately damn family," says Grace (Samara Weaving), her future husband Alex (Mark O'Brien), a few minutes before heading into the driveway. Pay attention to what you want. In Ready not ready, "& # 39;until death separates us "is a more immediate struggle, because Alex's dynastic family has a unique way of initiating new members. Dark, funny and very unique, the latest tinted horror thriller of To the south Directors Matt Bettinelli-Olpin and Tyler Gillett could be a last minute hit this summer.

A century ago, the family Le Domas spent a bargain with a devil to launch an empire of the board game. Appearing sometimes as a ghost, the entity known as Mr. Le Bail ensures that it meets its commitments: when someone gets married in the family, he spends the evening playing a game Of his choice. A blank playing card is placed in a mysterious wooden box. A simple crank turn prints the name of the game on the map. It seems innocent enough, unless the game is a game of hide-and-seek, which makes the home of Le Domas a hunting ground for a poor, unsuspecting bride.

The script of Guy Busick (The purge) and R. Christopher Murphy has a sense of humor when the family fulfills its obligation to The Lease and the desire to see Alex happy. The film begins with a profession of love and guilt. Alex has done everything to stay away from her family, but Grace is an orphan. She is thrilled to be part of a large family rich in history. As the night falls, the two newlyweds are asked to what extent they trust each other, thus embodying the fear of marriage.

Eric Zachanowich / Fox Searchlight

Although the subject may seem dark, Bettinelli-Olpin and Gillett chain comic visual gags throughout the film. From the terrifying Aunt Helene (Nicky Guadagni), sitting like a raven raven, still watching her jovial marriage with disdain, to a scary record that plays a joyful but disturbing music, the duet makes squeaks of waves in the audience.

The dead are vicious and ridiculous. A housekeeper, eager to help her distraught employer find the missing bride, wins an arrow in the throat for her problem. While the housekeeper rushes to share what she knows, the first thought I had was, "Why would anyone, not bound by The Bail's contract, accept it?" to murder an innocent woman? "Most employees are trying to capture this woman. No bonus, additional health care option or threat is proposed by the family if the staff does not want to help. They do it because the proximity of wealth creates as much dependence as having money. Win the favor of the master and any member of the audience may live better tomorrow than he did today.

The family plays the game because Le Bail promised that they would die a horrible death if they did not kill the bride at sunrise. Playing on urban legends of tragic wealth such as the Kennedys or the Guinness family, Murphy and Busik are playing with the schadenfreude to look at the implosion of one percent. There are no big family secrets, no public deception, or drug scandals that pit the family together. This is not a soap opera. It's a lot more scary. Because the truth is that almost all members of the family are nice until someone interposes them and their money. They do not even know if they believe in the curse, but are willing to kill for it, just in case. Even children find a way to participate in the game, wanting to support the family in every way possible. Money is power.

Not since Index, has a film so perfectly taken on extreme wealth in a comic form. From the not so blushing bride, to screaming the queen, to a kick-ass bride, not too far from Uma Thurman's bride in Kill Bill, The leading weaving of the group with its raw survival instincts. I left the theater applauding: "Eat the rich." If you do not fall into this category, it's a real boil.