Ready or not, here they come… don’t turn around, I think Frodo Baggins is kidnapping us?
Directed by Matt Bettinelli-Olpin and Tyler Gillett, this Ready or Not sequel expands the original into something bigger and bloodier in Samara Weaving’s best performance yet. The film follows Grace MacCaulley/Le-Domas and her estranged sister Faith as they are hunted for power by elite families following the demon Le Bail.
I walked into this film with high expectations, and I have no notes. Yes, I brought a notebook into the theatre. From the opening sequence, I was hooked. After surviving her fiance’s devil-worshipping family, Grace bummed a cigarette, and her heart promptly stopped. With each defibrillator charge, the film cuts to flashbacks of the original, neatly summarizing its major plot points without ending up overly expositional. I loved how this technique was reused during the fight between Grace and Francesca (Maia Jae), flipping to Titus (Shawn Hatosy) and Faith (Kathryn Newton).
The sequel adds new elements while staying true to the first film, like drugging and transporting Grace and Faith before the hunt. Unable to hide from the hunters, their vulnerability is heightened. The film expands its worldbuilding by portraying elites across industries, tying them to real-world events. Chester Danforth (David Cronenberg) stopping a war with a single phone call serves as sharp social commentary, highlighting how detached these figures are.
It’s much gorier than the first, with Le Bail’s followers erupting into bits and pieces of blood, flesh and botox. The washing machine death was one of the most original kills I’ve seen, and the chaotic wedding hall fight was a close second. The film embraces its horror comedy tone even more; it’s refreshing to see horror embrace messiness and mistakes.
The film is layered with symbolism. Faith wears a blood-stained cornicello necklace, traditionally used to ward off evil and absorb harm, and Le Bail’s assistant (Elijah Wood) repeatedly forms a triangle with his hands, hinting at certain power structures. The unscripted moment of the goat kneeling as Grace abdicates her position adds depth, echoing the biblical idea of the goats kneeling as surrender for atonement.
All of the antagonists were three-dimensional, but Wan Chen Xing stood out to me. She’s a conflicting character, appearing morally above the violence while still participating in it. That contradiction adds depth, and her role, revealing the marriage clause, becomes crucial. It raises questions about Ursula, who clearly knew of its existence yet never mentioned it to Titus.
At its core, the film explores family dynamics. Faith and Grace’s relationship improves the story, adding motivation to their survival. “Grace” means resilience and compassion, and “faith” represents belief, differing from their biggest threat, the Danforths. Ursula’s name, meaning ‘little bear,’ signifying her seemingly gentle nature and underlying manipulative edge, while Titus, whose name signifies honour, drives himself insane in order to uphold it. Together, Ursula and Titus are a foil to Grace and Faith, representing a toxic, power-driven version of family.
The film ends and begins with family, with the destruction of new and resurrection of old. Grace and Faith walk away with their pet goat, pledging their commitment to one another, saying, “I do.”
Ready or Not 2: Here I Come expertly expands on the original through its worldbuilding and symbolism, while deepening its exploration of key themes such as family and power. Now showing at select Cineplex theatres, and I highly recommend it.