Horror films have long relied on a familiar formula: a woman in an isolated environment, facing off against a group of satanist cult members who want to kill her. This formula, once fresh and thrilling, is now wearing thin, as evidenced by the recent releases of "Ready or Not 2" and "They Will Kill You."
These films, while entertaining, have lost their edge and feel like parodies of themselves. The characters' fates are predetermined by cat-and-mouse conventions, and the stories lack surprises. The formula, once innovative, has been replicated so many times that it now feels tired and predictable.
The issue is not just the abundance of these films, but also their lack of originality. They build on an already rickety pile of haphazard horror rip-offs, offering nothing new while pretending to be bold and significant. This is a problem, as it undermines the very essence of horror: to be scary but relevant, entertaining but dire, and intelligent without standing out from the crowd.
The first "Ready or Not" film, released in 2019, felt like a breath of fresh air. It poked fun at the wealthy without taking itself too seriously, and showcased the talents of its star, Samara Weaving. However, the sequel, "Ready or Not 2," feels like a beat-for-beat retread of the first, alienating the very audience it once appealed to.
"They Will Kill You," on the other hand, feels somewhat fresher than its thematic companion, thanks to its director's eye for visual flair. But even this film struggles to shake the feeling that one has seen it before. The characters' fates are predestined by cat-and-mouse conventions, and there are no big surprises.
The problem is that these films are not just imitations; they are also reflections of our cultural anxieties. The world is run by a cabal of the rich and powerful, and these films mirror our desire to resist and fight back. However, the reality is that retribution is often not an option, and the feeling of forced vulnerability is overwhelming.
This is where films like "Pretty Lethal" come in. While it may not be a groundbreaking innovation, it offers a refreshing take on the horror subgenre. It focuses on a group of ballerinas in distress, attempting to escape a bizarre, clandestine ritual. The film is absurd, filled with plot holes and thin characters, but it is also charming and stupid in the best way.
In conclusion, the horror genre is filled with trend-hopping and mimicry, and it is capable of giving us too much of a good thing. While these films may entertain, they are not pushing the boundaries of the genre. It is time for horror to evolve and offer something new, rather than relying on tired formulas that reflect our cultural anxieties in a hyperbolic and chilling way.
