How tragically appropriate that my review of Ready or Not 2: Here I Come (2026) comes after the sudden death of David Wilcock, a UAP researcher who dedicated himself to uncovering what he called the ‘illuminati deep state’, with all its armoury of occult powers. That’s precisely what this rather unnecessary sequel is all about. Samara Weaving reprises her role as Grace, the bride of an American aristocrat who had to be sacrificed to Satan for the noble family to keep its extraordinary luck.

By Emad Aysha

Now Grace is paired with her kid sister, Faith (Kathryn Newton), with a new hunt as other noble families join the contest, with much higher stakes than before. Why do a sequel for a movie from 2019? Obviously, the still-expanding Epstein class scandal. Alas, I was disappointed; too gory, badly plotted and only half funny.

VICTIMS OF CHOICE: Samara Weaving and Kathryn Newton [left to right] take on the global Satanic elite that's hiding everything from the Epstein files to the Roswell crash wreckage, apparently!

Now that the original family from the previous movie, the Le Domas clan, are dead and gone, a global power vacuum develops. It turns out the top family in the world, the Danforths, are duty-bound (thanks to their pledge with Satan) to open up a contest for the remaining elitists to take the top slot.

Whoever kills Grace first is elevated to total world domination. The head Danforth is none other than David Cronenberg, but he plays by the rules and gets his two children to kill him to open up the contest – Titus (Shawn Hatosy) and Ursula (Sarah Michelle Gellar).

Naturally, they want to reclaim the throne but have to play fair. Any contestant who kills another, even by accident, is disintegrated instantly along with his/her whole bloodline (the blowup is a bloody mess).

Grace’s sister Faith (what cheesy, obvious ‘Catholic’ names) gets pulled into this since she is her elder sister’s emergency contact and was at the hospital when the bad guys come after Grace. They handcuff them together to slow Grace down, forcing the two to reconcile after Grace dumped Faith.

The banter between the two sisters is one of the high points of the movie, whether it reopens old wounds or tries to heal new ones.

Samara Weaving really proves herself here as an actor, screaming her heart out, which is all the more amazing given how tiny her body is. She expresses herself through her big, gorgeous eyes and, yes, her flushed cheeks. (Her bushy, natural eyebrows add to the attractive mix).

Kathryn Newton is good too, a sincere contrast to her gold-digger sister and a pretty, perky girl in her own right. The big problem here, apart from the endless plot conveniences and forced storyline, is the rest of the cast.

I’ll make an exception for the lawyer to these corpulent elites, Elijah Wood, who is quietly sinister and completely in control of his impulses and every situation, no matter how ridiculous. He’s the epitome of ruthless efficiency.

Sarah Michelle Gellar is good too, a classy society type that doesn’t necessarily enjoy killing but knows what she’s doing. She’s still an attractive woman, all these years since Buffy the Vampire Slayer.

Everybody else is subpar, including Titus, who is supposed to be a psychopath. He doesn’t look groomed enough or ruthless enough. His eyes just look tame, and he isn’t clean-shaven for some reason, and his clothes aren’t snazzy enough.

BUFFY AND BRO.: Sarah Michelle Geller also distinguished herself in 'Cruel Intentions', another anti-elitist job. Shawn Hatosy however is as out of place as a chipmunk in a fish market.

The other contests are just as bad, if not worse. The only serious actor amongst them, Kevin Durand, is sadly taken out very early on in yet another plot convenience. (He actually looks like Piers Morgan or Mark Kermode for some reason).

The plot twists also predominantly don’t work. The ending is nice to be fair, with the ultimate plot twist you didn’t see coming, with legal strictures and loopholes ruling the day. (Good to see Satan and his representative on earth, the ghost of Le Bail, honour contracts and doesn’t rely exclusively on theological convictions.)

They don’t say this explicitly in the movie, but you suspect the Danforths are really a stand-in for the Rothschilds. David Cronenberg’s character is watching a news broadcast about an escalating war and makes a phone call approving a ceasefire, presumably in Ukraine.

Some researchers have found that the Rothschild banks are underwriting loans for Mr Zelensky’s war effort, and it is notable that one of the families vying for the top slot is Indian but based in the UK.

I presume this is a tongue-in-cheek jibe at Rishi Sunak, the dreaded Tory Treasury Secretary who later became PM. As for the mysterious Le Bail, according to a disturbing YouTube video, he’s meant to be Baal, the bull god of the Canaanites and Phoenicians for whom 'child' sacrifices are made.

Baal has an evil double-ganger called Moloch for whom children are sacrificed, a practice some ’pagan’ Israelites in the past took up. (I presume this was as part of their alliance with the Phoenicians, ironically!)

The Epstein revelations seem to be going in that direction, so this movie is timely, if insincere and sloppy. You will note that when the Iranians celebrated their Islamic Republic’s birthday, they burned a statue of ‘Baal’ to send a message to the Israelis.

Netanyahu openly acknowledged that he got the message, even though the statue wasn’t actually of Baal at all, but of the much worse Moloch!

If I were to go out on a limb, I’d go as far as saying the Epstein elite are infiltrators of the Jews. A bunch of non-monotheists left over from antiquity, who joined forces with decadent Satanists in Europe.

Just check out Eyes Wide Shut (1999) or even The Ninth Gate (1999). These classic movies needs to be researched even further.

MISSING IN ACTION: If they can bring back Le Bail aka Baal, might as well go the whole nine yards and bring back Andie MacDowell from the first movie.

That being said, I still feel Ready or Not 2 is insincere and that the first movie was better. The actors actually looked the part, down to the men's dorky 1930s haircuts and outfits.

The husband of the bride in that movie is the one who helps her evade capture for so long, so no plot armour, and he only turns sour after she kills his lovely mom (Andie MacDowell).

Only the ending here is refreshing and unpredictable, which I won’t burn for you here. Watch it yourself, and beware!