For all the blood and mayhem, it is Samara Weaving’s guttural scream in 'Ready or Not' that forces us to bear witness to the horrors of institutions. angelicabastien writes
Photo: Eric Zachanowich/Twentieth Century Fox As far back as I can remember, I have considered marriage a prison for women. Perhaps it’s the stories I’m greeted with nearly every day of intimate violence around the country — women habitually brutalized, burned alive by their partners, arrested for handing in their abusive husbands’ guns out of fear.
Weaving plays Grace, a new bride who finds herself mired in the eccentricities of her husband Alex Le Domas’s exceedingly wealthy family. The portents are there if only Grace would pay attention. The sharp-edged Aunt Helene , who stares at Grace with murderous intent. The strange ritualism with which a late-night board game is chosen post-wedding; her in-laws claim it’s a welcome-to-the-family tradition.
Even as Ready or Not skewers the emptiness of the rich and exaggerates the terror of in-laws, the film never takes itself too seriously, preferring instead to have delirious fun critiquing the behaviors of the status-obsessed. Along the way there is violence, and directors Matt Bettinelli-Olpin and Tyler Gillett don’t shy away from the catharsis that comes with each character’s brutality.
In terms of memorable moments, the image of Grace in her ripped-up wedding dress and Chuck Taylors, holding a shotgun high with bullets strapped to her chest, is immediately framed as iconic. Grace herself, peering at her visage in a mirror, is taken aback. But the promise of the costume — that Grace would mete out vengeance — isn’t exactly what’s delivered. Instead, she’s meant to barely survive a series of hellish duels and near misses.
Even then, Samara Weaving’s performance is dynamic enough that any lingering issues fade away in the face of her. Ready or Not is subtly pockmarked by needling decisions — namely the heavy-handed score by Brian Taylor that doesn’t trust the audience and often lessens the impact of the film’s most thrilling moments. But at its best, the movie is a vicious, richly funny, and artfully brutal tale that places Weaving’s performance as its gravitational center.
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