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by Erik Luers
Opening with a wedding and concluding with some kind of funeral, the horror-comedy Ready or Not is a welcomed late summer season addition. Grace (Samara Weaving) and Alex (Mark O’Brien) are married at the Le Domas family mansion. After the ceremony, the family announces that, as is tradition, they will promptly play a children’s game with (or more accurately, against) the bride, as she is the newest member of the Le Domas family and thus must pass a test. The game is Hide and Seek, and if Grace can make it to morning, she lives. If the Le Domas family finds and murders her before the sun rises, an ancient family pact is retained and Alex can hop back on Tinder.
Game - Cat-and-mouse - Ready - Shifts - Flirtations
A wacky, gory, coked-up game of cat-and-mouse, Ready or Not is, above all else, not to be viewed as plausible. With its tonal shifts and flirtations with satanic cults and devilish in-laws, the movie unfolds like a macabre board game about with the fear of ritualistic initiation—or, put another way, a grand guignol retelling of Clue meets Get Out. As Grace, Samara Weaving makes an ideal dirtied and scarred Final Girl, and by film’s end, she’s gone through a Von Trier-level amount of emotional and physical torment. Luckily (and most certainly intentionally), you laugh and cheer along the way.
Ready or Not was made by a filmmaking collective trio known as Radio Silence, comprised of directors Tyler Gillett and Matt Bettinelli-Olpin and executive producer Chad Villella. The morning after the film’s world premiere at the Fantasia International Film Festival in Montreal, I spoke with all three about pitching the film to Fox Searchlight, tackling the film’s tonal shifts, extensive costuming and much more.
Filmmaker - Radio - Silence - Form
Filmmaker: How did Radio Silence form as a collective and what was the...
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