Explore the latest developments concerning Ready or Not.
‘Ready or Not 2’ Was Almost Just a Post-Credits Scene After the Original
The 'Here I Come' filmmakers and much of the cast – minus a pregnant Samara Weaving, who FaceTimed in — gathered at SXSW to screen and discuss their bloody satire of satanic power brokers.
Plenty of sequels flirt with nonexistence, and Ready or Not 2: Here I Come is no exception. But even if filmmakers Matt Bettinelli-Olpin and Tyler Gillett hadn’t gotten the chance to make their upcoming follow-up, they very nearly blew its entire premise on a post-credits scene in the original.
“I don’t think we ever thought of a sequel,” Bettinelli-Olpin told a South by Southwest crowd in Austin over the weekend. “I think we thought we were making it this is one and done.”
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Movie Review – Ready or Not 2: Here I Come (2026)
Directed by Matt Bettinelli-Olpin and Tyler Gillett.
Starring Samara Weaving, Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, David Cronenberg, Dan Beirne, Nestor Carbonell, Elijah Wood, Kevin Durand, Olivia Cheng, Varun Saranga, Maia Jae, Juan Pablo Romero, Kara Wooten, Nadeem Umar-Khitab, Antony Hall, Masa Lizdek, and Grant Nickalls.
After surviving one deadly game, Grace and her sister Faith must now outrun four rival families competing for a powerful throne – winner takes all.
Whether one goes into an open mind or not regarding the need or value in a sequel to the satanic cult-led hide-and-seek bloodbath thriller Ready or Not, nonetheless, logically titled Ready or Not 2: Here I Come, returning directors Matt Bettinelli-Olpin and Tyler Gillett (collectively referred to as Radio Silence) don’t inspire much confidence by picking up during the meme-ified ending scene of its predecessor that saw Samara Weaving’s final girl newlywed (the marriage clearly didn’t work out) Grace smoking a cigarette while slathered in blood, relieving a bit of stress after surviving a truly demented game until morning. There is a whiff of nostalgic desperation (for a movie that’s not even ten years old) in utilizing such evocative, memorable, and viral imagery, as if to say, “trust us, we have a worthy idea for a sequel that will live up to the previous insanity and the rewarding payoff”, which admittedly was a blast (figuratively and literally considering bodies kept spontaneously combusting into gobs of blood). Unfortunately, the filmmakers don’t.
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