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On August 10th, Universal Pictures announced that the Blumhouse production “The Hunt,” directed by Craig Zobel, would not be released in theaters. The script for the film, which is about wealthy individuals who hunt poor people for sport, was leaked, and Trump supporters failed to see the subtext, interpreting it as an invitation for liberals in blue states to attack conservatives with guns. The problems with this are far too numerous to list in the preface to a film review, but suffice it to say that Universal made a bad decision in this regard. We are left to speculate about how anti-Trump the film is or isn’t by the fact that it has been kept hidden from the public for so long. As a result, they’ve created a potentially dangerous precedent. Republicans can simply tweet about a movie that they believe is unfair (and a goodly portion of major studio product is politically to the left by default these days), and that film will be pulled from theaters. Because of this, we can all be thankful that no one took a close look at “Ready Or Not,” a film that was implicitly as radical as the film “The Hunt.” That is to say, neither film is likely to influence anyone’s voting decisions, but they both depict a game in which the rich hunt the poor for resources. “Ready or Not” doesn’t advertise its anti-capitalist leanings, but you’d have to be deaf to miss it if you didn’t know what you were looking for.
Grace (Samara Weaving) adores Alex Le Domas (Mark O’Brien) to such an extent that she is willing to put up with the hoop-jumping that his family has forced her to go through: She has a number of obstacles to overcome, including an alcoholic wastrel (Adam Brody) hitting on her, her mother Becky (Andie MacDowell) being a little hesitant about her approval, her sister Emilie (Melanie Scrofano) not even showing up in time for the ceremony, her father Tony (Henry Czerny) outright expressing his displeasure with the girl’s status, and her aunt Helene (Nick Gua Even though they’re a strange bunch, Grace can see the light at the end of the tunnel now that they’ve all congregated at the Le Domas manor for the wedding celebrations. Grace begins to unwind after the ceremony is completed, but Aunt Helene appears unexpectedly in Alex’s bedroom to remind him that there is one more ritual to complete before the two can live happily ever after. Alex failed to mention that every time someone enters the Le Domas domain, they are required to participate in a game of chance.
The Le Domas family name is a household name in the film’s world, and it is intended to be as ubiquitous as the Parker Brothers or Milton Bradley names. The company is renowned for its board and card games, so Grace accepts the moonlit challenge as a quirk due to the nature of their chosen profession. Nevertheless, when Tony explains how Great Grandfather Le Domas made his millions only after having a chance encounter with an unknown traveler, and Grace pulls “Hide and Seek” from the box of games, everyone takes a collective breath and it becomes clear that something is wrong with the family’s finances. Grace can spend as much time as she wants in a dumbwaiter as she wants, but she will miss the sight of the entire Le Domas family arming themselves to the teeth before they begin their search for her. Grace doesn’t fully comprehend the gravity of the situation until Emilie accidentally kills one of the family’s three maids.
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When it comes to a movie like “Ready or Not,” it’s easy to exaggerate the situation. Images of Grace in her wedding dress, sporting post-“Kill Bill” swagger, heading to do battle with the crazed Le Domas progeny, covered in blood, sporting bandolier, a half-baked quip, and a torn wedding dress adorn the pages of the book. It’s full of simple jokes about the irrationality of the wealthy and the callousness with which they approach their task of hunting and killing a woman on the grounds of their estate. Even though Brody, MacDowell (who struggles a little with the tone), and Kristian Bruun, who plays Emeilie’s jerkhusband, do cavalier work in this film, they should all be funnier and given a little more to chew on. Among the cast members, Czerny and Weaving are the only ones who fully exploit every second of their screen time, demonstrating the full-bodied comedy and crazy-eyed horror that this could have been.
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Despite the fact that this film is begging to be The Most Dangerous Game by way of “Schitt’s Creek,” it doesn’t appear to understand what it takes to be satirical in its core. It understands that the sight of wealthy men armed with medieval weapons hunting a woman means “something,” but they haven’t figured out what it is yet. When a butler approaches Weaving in the middle of the carnage, he tells him, “The ammunition is just for show,” according to the butler. The same can be said for the political machinery depicted in the film. It’s clear that “Ready or Not” didn’t ask to be the other movie about human beings hunting each other for sport, but as Wesley Morris once observed, the moment chooses the movie rather than the other way around. Even though it’s clearly in Weaving’s neighborhood, the establishment doesn’t have much to offer her. Similarly, the final line is a kind of cheap seats Joe Eszterhas anti-poetry that has nothing to do with the conflict and is more concerned with scoring a laugh as the audience exits the theater.
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On a technical level, the digital photography is far too murky to pass as the spoof Lars von Trier film that directors Matt Bettinelli-Olpin and Tyler Gillett (also known as Radio Silence) appear to be aiming for. The harsh lighting and muddled photography, in particular, detract from MacDowell’s performance. In spite of the fact that she is one of the most radiant women in American cinema, she is subjected to harsh lighting and obnoxious post-production colorization, not to mention an unflattering hairstyle, in this film. A little trust in and respect for the game’s cast would have gone a long way toward resolving the situation.
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However, and this is a significant however, the film is charismatic and exciting enough to overcome its flaws. Weaving is a very likable heroine, with a broad comedic appeal, clumsiness that is relatable to all girls, and a sarcastic rejoinder for every situation. In a better world, she’d already be the star of her own comedy series. She makes for a likable action hero precisely because she is aware of and expresses her dissatisfaction with her appearance. She fights for her life in her tattered wedding dress, taking on everyone from her young nephews to the butler in the process. Her every wound demonstrates to her that the backwards morality by which the rich live is so deeply ingrained that no amount of pleading will be enough to reverse the course of events. As a bonus, it serves as her first indication that not even her beloved Alex will be able to rescue her from her predicament. The fight she is engaged in is not just against people; she is also against tradition and the concept of family.
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She has instant pathos thanks to Weaving’s expressiveness, and Brody, who has been one of America’s best character actors for over a decade, is gradually pulling away from the rest of his family, which contrasts nicely with the bug-eyed fervor of the rest the Le Domas’ brood. Until the games come to a close, “Ready or Not” will no longer be a contest between the wealthy and the disadvantaged. A young girl is trying to survive a violent ordeal, which is powerful enough for the moment you’re watching it. However, in a political climate where films can be pulled from release schedules, now is not the time to be secretive about your feelings about it.
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