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 You may have noticed that I did not use the numeral ‘2’ in the title of the film as all the advertising has done. I was unimpressed with the addition of the numeral as I thought the title worked perfectly without and when the film’s title card appeared on the screen it pleased me that the filmmakers agreed with my sentiment over the marketers.

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Ready or Not, Here I Come is a direct sequel to 2019’s Ready or Not. The previous film Grace MacGaullay (Samara Weaving) marries into the insanely wealthy Le Domas family, only to discover that her new in-laws obtained their wealth and power by way of a dark pact with Satan and only by sacrificing her life to their dark god could they not only retain their privilege but their very lives. Ready or Not ends with Grace surviving her ordeal and her in-laws facing the wrath of their benefactor. The sequel, despite 6 years passing between the two movies’ production, starts precisely where the previous entry ended, with Grace sitting on the steps of the burning mansion as first responders arrive.

Grace’s escape from the torments of the satanic cult is quickly ended when she and her estranged sister Faith (Kathryn Newton) are abducted by the wider cult that the La Domas’ were only one facet of. As explained the organization’s Lawyer (Elijah Wood) control of the global cult, which until their destruction, rested with the La Domas, is now up for grabs. Determination of the family to take control is by yet another game of hide and seek with Grace and Faith as the targets of the murderous representatives.

While the sequel is much the same as the original film, the basic plot remaining unchanged, and the retcon creation of a sister for the orphaned Grace of the first film could have been ham-handed Ready or Not, Here I Come works surprisingly well. Weaving and Newton have a great sibling chemistry which acts as tonal counterbalance to the principal antagonists the fraternal twins  Ursula and Chester Danforth (Sarah Michelle Gellar and Shawn Hatosy.) Like the previous movie Ready or Not, Here I Come is more comedy than horror with few sequences of intense dread and more of exaggerated cartoonish violence. In some ways this compares favorably with Alien and Aliens. Where Ridley Scott crafted a slow burn horror film which James Cameron did not try to replicate but instead focused on an action driven film that share the same beats as its predecessor with this pair of movies, the first is more of a horror film, albeit interspersed with absurdist comedy, the sequel never tries to duplicate the horror of the first, understanding its mission to plow new ground.

Running a mere 108 minutes, this movie doesn’t waste time before diving into its central plot and troubles for its protagonists. The sequence of events is laid out in such a manner that the newly introduced Faith does not suffer an extended period of ‘disbelief’ that would only frustrate an audience that had already been exposed to the supernatural reality of this film’s world. Economical with time and exposition Ready or Not Here I Come knows just why the audience has come to the theater and it delivers. This is a not a horror film that is meditating on grief, or obsession, or the nature of good and evil in a complex world, it is here to show you a good time as two morally decent women are faced with seemingly insurmountable challenges.

If you were a fan of the first one then there is no reason to avoid its sequel, this is a movie best seen in a theater with few distractions and a loud engaged audience.

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After taking a few days off from serious work and the day job I am back posting on my blog and I will return with a review of a film I had been anxiously awaiting The Bride!

With trailers making the movie appear to be a mashup of 30s gangster flicks and the classic Frankenstein tale the very oddness of it compelled me to see this unique vision in the theater. After pushing back my attendance by a week so I could see Blood on the Moon, where I was warned that the 40s noir western was superior to The Bride! yesterday after a nice lunch my sweetie-wife and I caught an early afternoon screening.

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There is a triumvirate of positions that greatly affect the look, feel, and tone of a motion picture, The Producer, The Director, and The Writer, and when all three posts are occupied by the same person, as with Maggie Gyllenhaal for The Bride! it comes as close as possible for a major studio release to fulfill the concept of the auteur theory and the final product for good or bad rests on that person.

I wish I could say I loved The Bride! but that is not the case. The film feels terribly unfocused and scattershot, with each sequence interesting and executed with tremendous vision but never coalescing into a coherent whole. I can see what Gyllenhaal was trying to achieve and I can see the thesis of her work, she was shooting for something proudly feminist and while she for the most part avoided pulling out a soapbox from which to lecture her audience the final product, in my opinion, never scaled the summit she set out for herself. The script feels like something that was written by the seat of the author’s pants and never revised afterwards. Major story elements are introduced late, earlier plotlines are wrapped with a sensation that feel forced and pressured as though someone had suddenly discovered that they were running out of pages, and references to other films proved distracting. I think, outside of comedy, it is a very risky proposition to refer to other films in your movie as you rarely come off as anything other than inferior. If I am watching your adaptation of Frankenstein you rarely want me to be thinking of Whale’s version or worse yet Young Frankenstein.

The film had far too little of the 30s gangster and I felt it did not deliver as promised on either the mad scientist or organized crime elements.

The cast is uniformly good and the production design and cinematography are striking, everything that doesn’t work in this film comes from the script and vision behind it and as such if you love or hate this movie the person responsible is Maggie Gyllenhaal.

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Dracula, written by Bram Stoker and published in 1897, is one of the most adapted pieces of fiction in the English canon rivaled, perhaps, only by Mary Shelley’s Frankenstein. The number of

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adaptations and the various media are almost beyond count. The famed vampire has been in London’s swinging 70s scenes, hunted the darkened streets and bayous of Louisiana, stalked victims aboard starships in deep space, and even blackmailed into hunting down criminals like a superhero (Dracula Returns, Robert Lory.) But after waves and truly out-there reimaginings filmmakers returned time and time again to the Stoker original novel, its 19th turning into the 20th century setting, and adapting once again that primal source material.

Filmmaker Luc Besson (The Fifth Element, The Professional, and Valerian and the City of a Thousand Planets, to cite a few) has released his own take on literature’s most famous vampire. Written, produced, and directed by Besson, Dracula, released in other markets as Dracula: A Love Story, is so loosely bound by the source material as to stretch to breaking the very definition of adaptation. (It causes me to remember that there was once a screen adaptation of a Shakespearean play with credit Additional Dialog by William Shakespeare.) People familiar with the novel Dracula will recognize a fragment of a scene here and there that echoes something of what Stoker penned, but nothing more than a faint and nearly imperceptible shadow of that original text. Gone is Doctor Abraham Van Helsing, replaced by Christoph Waltz (the principal reason I ventured to see this feature) as a priest, part of a Vatican-ordained order of vampire hunters. Following in the recent canon alterations (or desecrations depending upon your point of view) Dracula (Caleb Landry Jones) once again is portrayed as a man so tormented by the loss of his true love at the hands of his enemy that he has forsaken the Church and God, that he is cursed with the terrible affliction of vampirism, leaving him to haunt the centuries searching for the reincarnation of his lost love. Much of the film’s runtime, 2 hours and 9 minutes, is dedicated to Dracula’s backstory, following him through four centuries of searching and loss. Given that the film’s main action takes place after all of that backstory, this creates in the film a powerful sense that the movie is mostly exposition. This Dracula shares a thematic element with del Toro’s Frankenstein, a deep sympathy for the monster at the center of the tale. While it can be argued that Shelley imbued her text with such feelings for the creation, no such sentiment is in Stoker’s novel. This is the inevitable consequence once you introduce any hint of a tragic origin for the famed vampire. By the end of the film Besson abandons any considerations for the Count’s numerous and slaughtered victims, keeping his sympathy entirely for a vampire with whom Besson has crafted a nobility absent from the source material. This rendition, in addition to transplanting the story from England to Paris, contains mind-control perfumes, elaborate choreographed dances with scores of performers, and culminates with the Austro-Hungarian Empire assaulting Castle Dracula with troops and cannon.

On the plus side, Caleb Landry Jones turns in a performance that sold me, for the most part, on his portrayal as an Eastern European nobleman. To my untrained ear I detected no flaw in his accent and his bearing and delivery all contributed positively to the air of a man for whom power was a birthright. I do wish that hair and make-up had dyed his hair black, a blonde Transylvanian nobleman did stretch my credulity as much as the count being a master chemist whipping up mind-control perfumes.

Besson’s Dracula does strike me as the most thematically Christian rendition of the material. Most vampire movies and television programs will use the cross warding as a gimmick, a way for the characters to save themselves when confronted by a thing that vastly overpowers them, but here the story and its resolution actually turns on Christian theology.

And that made the final resolution unacceptable to me for what is yet another rendition of the ‘red shirt’ problem. In my final section I will spoil the ending of the film so you can bail out here, knowing that I cannot recommend this movie at theatrical prices, at best wait for it to come a streaming service you already subscribe to.

After the army and assorted characters have successfully assaulted and gained entrance to the castle, and after Dracula had slaughtered literally scores of men, Waltz’s priest confronts the vampire and implores him to renounce his heresy. For Dracula to accept God’s love and forgiveness, which Dracula does and then allows the priest to destroy him with a silver stake.

So, Dracula, a vile and evil creature who for hundreds of years has visited terror and death on the people of Europe, is in the end forgiven and granted absolution even as he stands in a hallway littered with the corpses of men he killed. These nameless characters died not to end a great evil, and in the end their sacrifices achieved nothing. It was not by their blood and lives that the Priest walked into the castle. They were mere spectacle, giving the conclusion some action.

It is Christian to believe that honest and true repentance will grant you God’s absolution, but it makes for a terrible movie ending and it is particularly rankling when once again we are being asked to accept a monster as subject of our sympathy and empathy.