Displaying items by tag: Sarah Michelle Gellar

READY OR NOT: HERE I COME

US, 2026,114 minutes, Colour.

Samara Weaving, Kathryn Newton, Elijah Wood, Sarah Michelle Gellar, Sean Hatosy, David Cronenberg, Olivia Chang, Antony Hall, Nestor Carbonell, Kevin Durand.

Directed by Mark Bettinelli-Olpin, Tyler Gillette.

It is six years since the original film made such an impact, popularity, positive critical reviews. It had a complex plot and characters, dangerous situations, deadly games and hunting, guess, conflict between the wealthy and the poorer, the suggestions of Satanism. At the centre is Samara Weaving as Grace, the young bride in the first film, the target of the deadly game of High and Seek, satanic ritual whereby she becomes the hunted by the rest of the family, a sacrifice in the perverse satanic world.

The sequel, with the addition of Here I Come, a strong affirmation by Grace, Samara Weaving appearing again (and, as suggested previously, passing for Margot Robbie’s sister).

The sequel takes up from the past, lots of references to the characters and action of the past and sinister plots and menacing games. But, while there is a repetition of the plot, a repetition of the dangerous hunt with even more complex situations, there are some additions to the plot, especially the introduction of the estranged sister of Grace, played by vigorous Kathryn Newton. This time, they will share in being hunted together, reconciling, clashing, falling out, but a final coming together and victory over the satanic machinations and rituals.

Also added this time is the character of the family lawyer, smooth and smart, sinister, explaining the regulations and the families commitment to a mysterious and sinister character who controls the family and its destiny, creating its satanic laws. He is played by Elijah Wood, presiding over the satanic sacrifice but, somehow unexpectedly, surviving.

Also added is the development that there are various families involved in having the ring from the original founder of the group, is gaining power over everyone and control of the fortune. And, this time, there are Hispanic rivals, Indians, Chinese, all arriving for the ritual and hunt. Sarah Michelle Gellar and, a somewhat demented Shawn Hatosy are ruthless villains.

There is also an intriguing cameo at the opening from master-director, David Cronenberg, who is a larger-than-life portrait intimidates throughout the film.

The mansion is large, the grounds also large, patrons celebrating weddings and playing the casinos hurried out so that the rich can commence their deadly ritual game. So, all kinds of hunting, hiking, traps and ambushes, betrayals, greater use of developed technology from the last film, as well as betrayals, cowardice, really unpleasant characters – and, for those breaking the rules, as previously, the characters exploding.

The review of the first film complained about the tiresome language. The same here, though more so, all the characters have an extremely limited four lettered vocabulary more than frequently invoked, no creativity in invective and exasperation expressions.

The final ritual where the disciples have all gathered leads to violent and chaotic mayhem of destruction during the satanic ritual – with Elijah Wood looking on while the two sisters, at last, reconciled, lacerations and wounds galore, facing their future (and another sequel?) together.

I KNOW WHAT YOU DID LAST SUMMER

US, 2025, 111 minutes, Colour.

Madelyn Cline, Chase Xui Wonders, Jonah Hauer-King, Tyriq Withers, Sarah Pidgeon, Billy Campbell, Sarah Michelle Gellar, Freddie Prinze Jr, Jennifer Love Hewitt, Gabrieltte, Austin Nichols.

Directed by Jennifer Kaytin Robinson.

in 1997 there was a very popular thriller, a group of young people involved in an accident, covering it up, but eventually targeted, with a Grim Reaper-disguised slasher pursuing them, a threatening note with the title of the film, I Know What You Did Last Summer, and a group of young stars becoming popular at the time, Freddie Prinze, Sarah Michelle Gellar, Jennifer Love Hewitt, Ryan Philippe, engaging the popular young audience of the time.

Almost 30 years later, the same title. Ironically, the production company is called Original Films. Not exactly! However we discover that this is not a remake. Rather, it is a sequel – and one of the characters stating that there were similarities to the events of 1997 and that the killer in this one decided to wreak vengeance by using the events and twists of the past as a “template” for this series of revenge killings.

While twentysomethings might immediately engage with the central characters as the film opens, a gathering, an engagement party, 4th of July, Southport North Carolina, fireworks, an older audience might find them often irritating, sometimes alienating. However, after the accidental death episode and the cowardly decision to cover it up, the film does get that much more interesting.

And, then the killer appears – or is shrouded like The Grim Reaper with metal sickle. The group covering up the accident and the death raise themes of irresponsibility, co-responsibility, fear, concealment, callousness. When two people not associated with the cover-up are killed, it seems skewiff  However, after a while the culprits are attacked, a limited number of suspects, some gruesome fights and killings, some tension and sudden shocks.

Perhaps the young cast will have their moments in the future but their acting here is akin to soap opera styles. And this is particularly marked when some of the original cast turn up in their characters from 1997, Jennifer Love Hewitt, Freddie Prinze and, a device to introduce Sarah Michelle Gellar in her character from 1997 in a nightmare sequence for one of the targets.

When the main suspect, the local pastor, who has a connection with the person who was killed in the accident, is also disposed of, there is a certain curiosity or more of who is behind it all – and, some twists and a final revelation, probably not expected for most audiences.

Which means that this is a slash-thriller for younger audiences and tolerant older audiences.