Tyler Gillett
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With their mix of upper-class pomposity and casual bloodshed, the Le Domas family calls to mind a rich tradition of blackhearted drawing room farces, from Kind Hearts and Coronets to Clue.
Rather than delivering on the promise of the premise, “Ready or Not” lurches unevenly and a bit smugly through the twisty halls of the Le Domases’ “Clue”-like mansion, with little of the 1985 murder-comedy’s boundless charm.
Ready or Not, as a friend so pointedly put it, is Clue if it took place during The Purge.
The underloved Clue is in the DNA of Ready or Not, in which a bunch of people who think they’re smarter than they actually are bumble through a sprawling Gothic mansion.
Instead, they’re like the cast of an ultraviolent remake of Clue, and if that’s not a glowing recommendation what is?
Ready of Not takes the best and most crowd pleasing elements of The Most Dangerous Game, Your’re Next, The Purge, and Clue and blends them into a tasty, bloody smoothie.
Scary Movie (2026)
Directed by Michael Tiddes
influenced by Scream (2022), Scream VI (2023)
Themes Characters Plot
Calling it simply Scary Movie, no number, is itself a requel move, the same naming reset as Halloween (2018) or Scream (2022)…
This might parallel Scream (2022), limiting Neve Campbell and Courtney Cox…
…so named because she’s playing the analog for Jenna Ortega in Scream, and Ortega is also the star of Netflix’s Wednesday. Ha.
The sixth installment of the Scary Movie series drops the number from its official title, much in the same way that Scream 5 was just called Scream.
In particular, the film structures itself similarly to Scream (2022), with commentary made on “Elevated Horror” and “Elevated Comedy.”
Besides an admittedly clever opening sequence that mirrors one of the recent Scream films…
In the movie’s opening phone call, one that mirrors the call Drew Barrymore received in the original, Tara (Jenna Ortega) — after initially ignoring a strange call on “the landline” — tells the strange voice on the other end (again Roger Jackson, franchise MVP) that she prefers “elevated horror” like “The Babadook,” “Hereditary” and “It Follows.”
A voice on the phone strikes up a conversation about scary movies, but the reference goes over Tara’s head because she’s into “elevated horror,” like 2014’s The Babadook or 2017’s Get Out .
While there are plenty of meta jokes and cool, hip references to The Babadook and It Follows, the film still feels dated.
“I’m more into elevated horror,” she bites back, citing A24 fodder like The Babadook that’s more focused on theme than grisly jump-scares.
So you get the scene where someone explains the rules of being in a horror movie (this time done by the returning David Arquette), along with scenes referencing recent developments in the genre, including “elevated” options like The Babadook and It Follows .
But this movie also understands and references "high-minded" horrors like The Babadook and Hereditary .
Not quite; its third act occasionally shuffles cards when it should be building to a crescendo, and its expansive cast of characters is so winningly performed that you almost wish you could get to know them a bit better amidst the breakneck pace (in both of these regards, it falls somewhat short of Adam Wingarde’s brilliant, thematically similar You’re Next).
Whilst comparisons to Adam Wingard’s under appreciated horror gem You’re Next are inevitable, Ready or Not ultimately punctures similarities by posing the question of what to believe when it comes to the supposed curse the family believe they are under.
Comparisons to Adam Wingard’s cult favorite You’re Next are hard to avoid.
In many ways, this one reminded me of Adam Wingard’s You’re Next , which I also had issues with.
Dirigida por Matt Bettinelli-Olpin y Tyler Gillett ( “Devil's Due”, segmento 10/31/98 de VHS ), Ready or Not recuerda algo a You're Next (Adam Wingard, 2011).
For a more sharper comparison, this movie could’ve been closer to the style of Adam Wingard’s You’re Next and felt like a remarkable moment for the genre.
Abigail is allegedly a loose reworking of the 1936 Universal Studios film Dracula’s Daughter, but it’s difficult to see how, beyond a musical nod to the original 1931 Dracula and the fact that Abigail is, well, a vampiric daughter.
It's a heavy hint that the theme music, accompanied by a solo ballet turn, is that snatch of Swan Lake heard at the beginning of Dracula in 1931, but the first act then plays like a shadowy riff on Reservoir Dogs.
What the trailers don’t reveal is the twist ending, that Abigail is not just any vampire-ballerina, but Dracula’s daughter. Here, Dracula is played by British actor Matthew Goode, and while the other characters refer to him by his underworld alias, “Lazar,” the film’s credits identify him simply as “Father.” The implication, however, is clear.
“Scream” is hip with the times much in the same way its predecessors were, throwing nods to Rian Johnson, “It Follows” and “Hereditary” and playfully toys with audience expectations.
Scream is hip with the times much in the same way its predecessors were, throwing nods to Rian Johnson, It Follows and Hereditary and playfully toys with audience expectations.
What’s the most impressive about this installment of Scream is how much fun it’s having, poking fun at the horror genre, with characters referencing films such as It Follows or Hereditary , but also riffing on the Stab series in its own Scream universe.
In the movie’s opening phone call, one that mirrors the call Drew Barrymore received in the original, Tara (Jenna Ortega) — after initially ignoring a strange call on “the landline” — tells the strange voice on the other end (again Roger Jackson, franchise MVP) that she prefers “elevated horror” like “The Babadook,” “Hereditary” and “It Follows.”
No more last-century horror shoutouts when the kids have such newbies as "It Follows," "Hereditary" and "The Witch" as reference points.
But this movie also understands and references "high-minded" horrors like The Babadook and Hereditary .
This year’s Scream (not to be confused with 1996’s Scream , of course) contains a moment with a Matryoshka doll of references: a low-angle shot of a showerhead echoes the scene from movie-within-a-movie Stab in 1997’s Scream 2 , which was obviously itself nodding to 1960’s Psycho .
In order to illustrate exactly what’s so wrong with Matt Bettinelli-Olphin and Tyler Gillet’s Scream (from here on referred to as 5cream , because I genuinely think I might have a psychotic break if I keep trying to talk about both the original film and this reboot), I’ll present to you a working theory of mine about the intentions behind Wes Craven’s Scream series and how they slowly changed over time.
The first entry in the franchise without Wes Craven at the helm, Scream combines a fresh cast with legacy characters for a bloody, ruthless whodunnit.
Wes Craven’s Scream franchise pumped fresh blood into the veins of the floundering slasher genre at the end of the 90s and has continued to inspire the horror landscape over two decades later.
When the first Scream released in 1996, the film was instantly iconic among horror fans for its ability to deftly tread the line between homage and parody as it spoke to the rise of slashers.
Look at Scream as an example as something that blends both well; an entertaining horror film that never sacrificed the scares or tension for a moment of fun.
“Scream” is hip with the times much in the same way its predecessors were, throwing nods to Rian Johnson, “It Follows” and “Hereditary” and playfully toys with audience expectations.
Scream is hip with the times much in the same way its predecessors were, throwing nods to Rian Johnson, It Follows and Hereditary and playfully toys with audience expectations.
What’s the most impressive about this installment of Scream is how much fun it’s having, poking fun at the horror genre, with characters referencing films such as It Follows or Hereditary , but also riffing on the Stab series in its own Scream universe.
In the movie’s opening phone call, one that mirrors the call Drew Barrymore received in the original, Tara (Jenna Ortega) — after initially ignoring a strange call on “the landline” — tells the strange voice on the other end (again Roger Jackson, franchise MVP) that she prefers “elevated horror” like “The Babadook,” “Hereditary” and “It Follows.”
No more last-century horror shoutouts when the kids have such newbies as "It Follows," "Hereditary" and "The Witch" as reference points.
While there are plenty of meta jokes and cool, hip references to The Babadook and It Follows, the film still feels dated.
Scream 7 (2026)
Directed by Kevin Williamson
influenced by Scream VI (2023), Scream (2022)
and Tyler Gillett by name
Visuals Themes
On Gillett, rather than any one film
…nor the playfulness of Matt Bettinelli-Olpin and Tyler Gillett, the filmmaking duo behind the previous two franchise-reviving instalments…
…filmmakers Matt Bettinelli-Olpin and Tyler Gillett poured over the last outing, when Ghostface did the most with dark New York alleyways, apartment complexes and overcrowded subways…
On the films
The motivation in Scream VI (2023) was on the daffy side, yet still vastly superior to this.
…a sequel so determined to bring the franchise full circle that it seems to harbor animosity for its direct predecessor, Scream VI…
This pushed the film series farther away from Woodsboro — to college (Scream 2), to Los Angeles (Scream 3), to New York (Scream VI), getting to a point where Final Girl Sidney Prescott (Neve Campbell) was no longer the hero, but either a supporting character (Scream 4 and 5 — which was confusingly titled Scream) or absent altogether (Scream VI).
That alone separates this film from Scream (2022) and Scream VI.
Scream VI that, despite some flaws, still managed to keep its momentum in a refreshing urban setting…
…like the theater in the climax of Scream VI (2023), which was filled with items from the Woodsboro killings…
Ready or Not: Here I Come (2026)
Directed by Matt Bettinelli-Olpin
influenced by Ready or Not (2019), Scream (2022)
Themes Plot
Few horror-comedies in recent memory have landed with the same ferocious confidence as 2019’s Ready or Not.
Ready or Not 2: Here I Come expands the deadly game beyond the mansion and into a sprawling resort, giving Grace a new fight for survival as rival families enter the chaos.
The first Ready or Not is a fun, piercing, albeit overly on-the-nose takedown of the rich.
And in 2019, they lined up to catch “Ready or Not,” which follows young bride Grace MacCaullay (sensational scream queen Samara Weaving) who is hunted by her groom’s wealthy Le Domas crime family as part of a wedding night ritual to worship the devil or die trying to avoid it in a game of Hide and Seek.
“Ready or Not 2” plays like an extension of the first film, picking up exactly where part one left off.
READY OR NOT 2: HERE I COME is the long-awaited sequel to the 2019 hit genre-mix.
Confusingly bearing the same title as the 1996 original (a joke, I suppose on the recent “Halloween” and “Shaft”), it follows the format of what critic Matt Singer calls “legacy sequels” – in this picture they’re annoyingly referred to as “requels” – like “The Force Awakens” or “Ghostbusters: Afterlife” that surround a new cast with a few of your favorite old characters and basically re-enact the original picture with enough nostalgic nods to give undiscerning viewers obsessed with their own childhoods quote-unquote “all the feels.”
The movies cited are the recent Halloween films that brought back Jamie Lee Curtis, but a more appropriate reference point may well be The Force Awakens , which brought back beloved Star Wars heroes but made them background players in a younger cast’s story line.
Though it shares a title with the 1996 slasher satire that launched a new era of meta moviemaking (and three sequels), 2022’s Scream actually follows the model of 2015’s Star Wars: The Force Awakens: task beloved characters from the original film with handing off the baton to a younger generation.
They’re pandered to with ‘legacy sequels’, like The Force Awakens , Ghostbusters and, well, this, which give them the nostalgia hit of seeing old characters again, while trying to tempt them with new ones.
Ever since the world flocked to the one-two punch of Jurassic World and Star Wars: The Force Awakens in 2015, major movie studios have been exploiting a whole new way of rehashing beloved franchises.
It is, instead, a “requel,” a half revisiting and half reinvention that brings in older characters to mingle with brand new ones, much as The Force Awakens did for Star Wars in 2015.
Not as sharp as The Menu (2022), as clever as Parasite (2019), or as spirited as Ready or Not (2019) and Knives Out (2019), How to Make a Killing is a lifeless addition to the genre.
…following in the footsteps of Triangle of Sadness, The Menu, Saltburn, Rian Johnson’s Knives Out trilogy, Parasite, Ready or Not and countless others…
Think of similar films like 2011’s You’re Next, and 2019’s Ready or Not, or TV shows like Revenge and Dexter. These narratives flesh out the protagonist’s targets, thankfully building a connection with who they are and why they’re being punished.
Ford isn't going for the uncompromising discomfort of someone like Bong Joon-ho in "Parasite," nor the genre maximalism of "Ready or Not," to name two recent "kill the rich" films.
It isn’t until recently that the genre began to rely more on horror elements, as seen in Ready or Not (2019). Heart Eyes does the same, cementing itself in the rom-com sphere but emphasizing the thrills, with the comedy being hit or miss.
Ready or Not is now looking at one of the more influential, if not easily imitatable films of the last decade or so; a super-violent, super-hip comedy-thriller that took the gory shocks from 80’s slasher movies and repositioned them around a clever narrative that was far more than just a group of bland teenagers being massacred.
…not to mention other accomplished horror comedies like HAPPY DEATH DAY, READY OR NOT, and THE HUNT…
Similarly, Heart Eyes’ structure and pacing resemble the horror/comedy bounce found in the Scream franchise and Ready or Not, with self-aware jokes, eye-popping jump scares, paired with grounded, mostly sensible sequences where the victims are not total dinguses.
This lurid, comical blend of "Rosemary's Baby," "The Most Dangerous Game" and Agatha Christie's "And Then There Were None" begins with a flashback that reveals a bit too much of what bride-to-be Grace (Samara Weaving) is about to experience.
Yet while The Hunt was canceled because it too explicitly adhered to red-blue political divides — pitting billionaire liberal elites straight out of a Josh Hawley fever dream against a cadre of Real Regular Americans — it's interesting to note that Ready or Not, another riff on "The Most Dangerous Game" in which the aristocratic hunters eventually become the prey, premiered without incident this week.
Ready of Not takes the best and most crowd pleasing elements of The Most Dangerous Game, Your’re Next, The Purge, and Clue and blends them into a tasty, bloody smoothie.
The latest from Tyler Gillett and Matt Bettinelli-Olpin, two-thirds of the filmmaking group Radio Silence best known for the first-person horror segment of V/H/S , mashes up Clue and The Most Dangerous Game and infuses it with dark, nutty energy, gore (the loopy rather than repulsive kind), smart laughs and sharp satire at the expense of America’s well-to-do.
Oh wait, there's still one left and it's Ready or Not, a bloody hilarious take on The Most Dangerous Game that somehow slipped through the cracks in Disney's acquisition of Fox.
Ready or Not joins the pantheon of people being hunted movies alongside classics like Battle Royale , The Most Dangerous Game , The Running Man (it’s a classic!), and Hard Target .
This year’s Scream (not to be confused with 1996’s Scream , of course) contains a moment with a Matryoshka doll of references: a low-angle shot of a showerhead echoes the scene from movie-within-a-movie Stab in 1997’s Scream 2 , which was obviously itself nodding to 1960’s Psycho .
But Bettinelli-Olpin and Gillett keep things lively with a lavish visual style that nods toward Kubrick’s The Shining , Eyes Wide Shut , and even Barry Lyndon , while still maintaining an identity of its own.
Kill Bill: Vol. 1 (2003)
Directed by Quentin Tarantino
influenced Ready or Not (2019)
Characters Plot
Grace will not go quietly, ripping her wedding dress so she can be more mobile — a nod to Uma Thurman’s angry bride in “Kill Bill” — ditching her heels for a pair of Converse high tops and fighting back.
She sympathetically goes along to get along at first, before her wide-eyed realization of terror, then grows into a bloody bride fighting back like Uma Thurman in “Kill Bill” (2003).
Samara Weaving continues her career of kicking ass while looking unbelievably gorgeous with her lively latest movie Ready or Not , the story of the toughest bride having the worst wedding day since Kill Bill .
For Samara Weaving, who has starred in genre films like “The Babysitter” and prestige titles like “Three Billboards Outside Ebbing, Missouri,” “Ready or Not” is a revelation in her capacity to become a take no prisoners heroine in the tradition of Uma Thurman in “Kill Bill.”
…this one heavily reminds me of one of my favorites, 2019’s Ready or Not, with its message of rich people doing horrible things to maintain their wealth using both genres to great effect…
Death of a Unicorn was a delightful, if slightly gory surprise, reminding me a little of Ready or Not (2019) and Violent Night (2022) with its treatment of the 0.01% without going fully swinging the other way with a proletariat “for the people” message.
…like a Ready or Not with fairy-tale creatures instead of infernal bargains.
Several scenes recall monster-in-the-house classics, from Robert Wise’s “The Haunting” (1963) to Steven Spielberg’s raptor kitchen in “Jurassic Park” (1993).
Lit mostly with candles, the sprawling villa in which the film mostly takes place assumes a creepy aura reminiscent of the opulently spooky house in Robert Wise’s The Haunting.
Rosemary's Baby (1968)
Directed by Roman Polanski
influenced Ready or Not (2019)
Plot Themes Visuals
This lurid, comical blend of "Rosemary's Baby," "The Most Dangerous Game" and Agatha Christie's "And Then There Were None" begins with a flashback that reveals a bit too much of what bride-to-be Grace (Samara Weaving) is about to experience.
But the movie’s combination of horror, dark comedy and social commentary, while a substantial improvement over directors Matt Bettinelli-Olpin and Tyler Gillett’s previous effort, the dreary found-footage “Rosemary’s Baby” clone “Devil’s Due,” is nowhere near as deftly handled as it was in Peele’s film.
While it’s easy to enjoy this gripping, giallo-gruesome exercise as a kind of Gothic genre-movie pastiche — “What We Do in the Shadows” meets “Rosemary’s Baby,” with a generous helping of “Clue” — the subtext is rich enough to fuel reams of feminist- or film-studies essays.
The great Andie MacDowell is a treat as Grace’s morally uncertain new mother-in-law, and Nicky Guadagni is a hoot as the bloodthirsty aunt Helene, who wears a cape like an extra from “Rosemary’s Baby” and wields an ax like an extra from “Braveheart.”
“Ready or Not” is “The Most Dangerous Game” with notes of “Rosemary’s Baby” and the sassy, snarky ’tude of “Heathers.”
The direction by Matt Bettinelli-Olpin & Tyler Gillet (whose previous feature effort was the slightly less impressive “Rosemary’s Baby” knockoff “Devil’s Due”) due an effective job of mining the material for both laughs and jumps and doing so in a stylishly grubby manner.