Entertainment
Samara Weaving Survived the Wedding From Hell — Now She’s Back and Someone Forgot to Tell Her the Sequel Rules Have Changed…
Ready or Not 2: Here I Come picks up minutes after the bloody 2019 original, bringing back Samara Weaving alongside Sarah Michelle Gellar, Elijah Wood, and Kathryn Newton — but the dark magic that made the first film so wickedly good is proving harder to conjure a second time.
There is an unwritten rule in Hollywood horror that nobody talks about at parties but everybody knows: surviving the first film is often the worst thing that can happen to a final girl. Because survival means a sequel. And sequels, more often than not, mean diminishing returns dressed up in the same costume.
Ready or Not 2: Here I Come knows this. It might even be self-aware enough to wink at it. But knowing the trap and avoiding it are two very different things, and this follow-up to the genuinely brilliant 2019 original finds itself caught somewhere between a loving tribute to what came before and a film that hasn’t quite figured out why the first one worked so well in the first place.
Where We Left Grace — And Where She Ends Up
When Ready or Not ended in 2019, Samara Weaving‘s Grace had done the impossible. She had survived a wedding night that turned into a blood-soaked hunt, outlasted an entire murderous aristocratic family, and emerged from the wreckage — wedding dress destroyed, dignity intact, cigarette in hand — as one of the most electrifying horror heroines in recent memory. It was a perfect ending. Cathartic, darkly funny, earned.
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Ready or Not 2: Here I Come picks up almost literally in that same moment. Grace barely gets a drag of her cigarette before the universe decides she has not suffered nearly enough, and throws her headfirst into yet another most dangerous game. The film’s cheeky decision to resume with essentially no breathing room is both its most audacious choice and, arguably, part of its problem. There is something narratively exhausting about denying your protagonist — and your audience — even a moment of peace before the carnage resumes.
But exhausting can also be exhilarating, and for stretches of Ready or Not 2, it genuinely is.
The New Blood: Gellar, Wood, Newton and More
The film’s biggest swing is its cast expansion, and on paper it reads like a genre fan’s wish list come true. Sarah Michelle Gellar — forever and permanently Buffy Summers to anyone who grew up in the late nineties, and one of the most naturally charismatic screen presences in horror-adjacent entertainment — joins the cast in a role that the film wisely leans into. Gellar has spent decades proving she can do this kind of material in her sleep, and her presence here is an immediate energy injection every time she appears on screen.
Elijah Wood, who built an entire second career in genre film and television after Frodo Baggins put him on the map, brings his particular brand of wide-eyed intensity to a supporting role that the film uses with reasonable intelligence. He is not wasted here, which is more than can be said for some sequel supporting casts.
Kathryn Newton, fresh off establishing herself as a genuine franchise player through the Marvel universe and Freaky, adds another horror credit to a filmography that suggests she is quietly becoming one of her generation’s most reliable genre performers. And Shawn Hatosy, best known to television audiences from Animal Kingdom, rounds out a supporting ensemble that genuinely has no weak links in terms of performance.
The problem is not the cast. The problem is what the film does — and doesn’t do — with them.
More of Everything, Less of Something
The original Ready or Not worked because it was precise. It had a single, contained premise — one woman, one house, one night, one family — and it executed that premise with the confidence of a film that knew exactly what it was. The horror was funny. The comedy was horrifying. The class commentary was sharp without being preachy. And Weaving at the centre of it was a revelation — physically committed, emotionally raw, and wickedly entertaining in equal measure.
Ready or Not 2 doubles down on everything. More action. More characters. More set pieces. More escalation. And in the doubling down, something gets diluted. The action-horror-comedy balance that the first film held so beautifully tips slightly too far toward action this time, and some of the darkly intimate tension that made the original so unnerving gets lost in the larger scale.
Weaving remains magnificent. That is not up for debate. She throws herself into Grace’s continued ordeal with the same total physical commitment she brought in 2019, and there are moments — particularly in her scenes alongside Gellar — where the film fully earns its existence as a sequel. These two women sharing a frame in a horror-comedy context is, frankly, a gift that the genre did not know it needed, and when the film lets them simply bounce off each other, it crackles.
But those moments are punctuated by sequences that feel obligatory rather than inspired — the kind of escalation that sequels feel compelled to include because they believe bigger equals better. It rarely does.
The Verdict: Good Enough, But You’ll Miss the Original
Ready or Not 2: Here I Come is, by any reasonable measure, a good time. It is well-made, well-acted, occasionally very funny, and never boring. For fans of the first film, it delivers enough of what they loved to justify the watch. For newcomers — and it is hard to imagine anyone coming to this sequel without having seen the original — it will likely land as a perfectly enjoyable genre film with a stellar cast doing solid work.
But “good enough” is a long way from what the first Ready or Not was, which was genuinely great. Sequels are, as we noted at the top, a particular kind of curse. And Here I Come is proof that even the most talented people, working with the best intentions and an excellent cast, cannot always outrun the shadow of something that was near-perfect the first time around.
Grace survived the original. The magic of the original, though, is a little harder to bring back from the dead.
Entertainment
How ‘Avengers: Endgame’ Returned to Cinemas and Reclaimed Box Office Glory
Renewed ticket sales send Marvel’s 2019 finale past ‘Avatar’ to lead the all-time global chart again.
Seven years after its original release, Avengers: Endgame has unfinished business at the box office.
The Marvel Studios blockbuster has overtaken James Cameron’s Avatar to become the highest-grossing film worldwide once again. According to The Walt Disney Company’s October 4 announcement, Endgame now holds an estimated $2.9255 billion, narrowly ahead of Avatar’s $2.9237 billion. That puts just $1.8 million between two of cinema’s biggest hits.
The lead is small. The comeback, however, is substantial: a film released in 2019 has drawn enough fresh ticket sales to rewrite the all-time chart.
The ‘Encore’ release that tipped the balance
The latest theatrical run, titled Avengers Endgame: Encore, has earned $126 million worldwide, according to TheWrap. That includes $36.2 million in North America and $89.8 million from international markets—the extra business that pushed the film back into first place.
Audiences also had a reason to return beyond revisiting a familiar blockbuster. TheWrap reports that the reissue features a modified ending and three new scenes during and after the credits, connected to Avengers: Doomsday. The release therefore serves two purposes: bringing an established favourite back to cinemas and giving viewers a bridge to the next Avengers story.
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A rivalry with a history of reversals
This is another change of leadership in a box office contest that has lasted for years.
Endgame first displaced Avatar in 2019. Cameron’s science-fiction epic regained the crown following its Chinese re-release in 2021. Now, another theatrical return has swung the result in Marvel’s favour. Re-releases have become a decisive part of the competition, extending both films’ earning lives well beyond their original runs.
The distinction matters: this is the record for worldwide theatrical revenue without adjustment for inflation, including re-release earnings. It measures money collected rather than the number of tickets sold.
Why ‘Endgame’ matters to ‘Doomsday’
The timing gives Marvel’s comeback an added significance. Avengers: Doomsday is scheduled to reach cinemas on December 18, 2026, and Disney has positioned Endgame as an important foundation for that next chapter.
Explaining the connection, Anthony Russo said: “You really need to pick the story up from where you left it in Endgame.”
That makes this return more than a victory lap. A film remembered for closing a major chapter of Marvel’s story is now helping introduce the next one—and, along the way, has taken back Hollywood’s most closely watched box office title.
Entertainment
Tom Cruise’s ‘Digger’ Faces a Tough Opening: Could ‘Verity’ Take the Lead?
Cruise’s star power meets a fresh box office challenge as the Colleen Hoover adaptation emerges as a formidable rival.
Tom Cruise has spent years persuading audiences to watch him attempt the impossible. With Digger, the challenge is different: convincing moviegoers to embrace an eccentric, darkly comic character who bears little resemblance to his familiar action heroes.
Directed by Alejandro González Iñárritu, the film arrives in US cinemas on October 2, 2026, carrying considerable expectations. Cruise plays Digger Rockwell, an oil tycoon confronting a catastrophe connected to his company’s actions. It is a conspicuous departure for an actor whose recent screen identity has been shaped by spectacular stunts and blockbuster franchises.
Yet the conversation before release has increasingly turned from Cruise’s transformation to a more uncomfortable question: how many people will buy a ticket?
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A costly film facing a modest opening
According to Koimoi’s September 30 report, Digger was tracking for a North American opening below $15 million, against a reported production cost of approximately $125 million. These are reported estimates, rather than confirmed earnings or a final accounting of the film’s costs.
That gap explains the concern surrounding Warner Bros.. An expensive production needs sustained attendance, and a subdued debut would place greater pressure on subsequent weekends and overseas markets.
An opening forecast cannot establish a film’s eventual profit or loss. It can, however, reveal how much work remains for the campaign.
Reviews have complicated the pitch
The critical response has been sharply divided. People reported reactions ranging from admiration for the film’s audacity and Cruise’s commitment to criticism of its scale, coherence and tone.
For potential ticket buyers, that creates an uncertain proposition. Cruise’s presence attracts attention, but attention does not automatically translate into enthusiasm for an unfamiliar kind of film.
The promotional campaign has leaned into that disagreement. The Guardian described advertising that places harsh reactions alongside praise, using the controversy itself to generate interest. Whether that approach encourages curiosity or deepens hesitation remains an open question.
Why ‘Verity’ makes the weekend more intriguing
The Hollywood Reporter expects Digger to open substantially behind Verity, the Amazon MGM Studios adaptation of Colleen Hoover’s novel. hollywoodreporter.com
Starring Anne Hathaway, Dakota Johnson and Josh Hartnett, Verity is also scheduled to open on October 2. Its psychological-thriller premise centres on a writer who discovers a disturbing manuscript while completing another author’s book series.
From a marketing perspective, an established novel and a recognisable thriller setup could offer a more immediate hook. Digger, by comparison, asks audiences to take a greater leap into unfamiliar territory.
The audience verdict is still ahead
Cruise has clearly committed to that leap. At the London premiere, Reuters reported that his transformation involved prosthetics and a padded bodysuit, alongside a demanding performance.
The commercial outcome remains unresolved. Strong audience recommendations could give Digger momentum beyond its initial forecasts. A weak response would make its financial challenge harder.
For now, the film’s biggest suspense lies beyond the screen: whether curiosity about Cruise’s unusual gamble becomes an opening-weekend ticket purchase.
Entertainment
‘Verity’ Could Outopen ‘Digger’: Why Tom Cruise Faces a Tough Contest
The competing releases raise a compelling question: which film will persuade more audiences to buy a ticket?
Tom Cruise has spent years persuading audiences to watch him attempt the impossible. With Digger, the challenge is different: convincing moviegoers to embrace an eccentric, darkly comic character who bears little resemblance to his familiar action heroes.
Directed by Alejandro González Iñárritu, the film arrives in US cinemas on October 2, 2026, carrying considerable expectations. Cruise plays Digger Rockwell, an oil tycoon confronting a catastrophe connected to his company’s actions. It is a conspicuous departure for an actor whose recent screen identity has been shaped by spectacular stunts and blockbuster franchises.
Yet the conversation before release has increasingly turned from Cruise’s transformation to a more uncomfortable question: how many people will buy a ticket?
ALSO READ : Emmy Nominations Announcement Gets a Star Twist… Liza Colón-Zayas & Jeff Hiller Set to Reveal 2026 TV Nominees
A costly film facing a modest opening
According to Koimoi’s September 30 report, Digger was tracking for a North American opening below $15 million, against a reported production cost of approximately $125 million. These are reported estimates, rather than confirmed earnings or a final accounting of the film’s costs.
That gap explains the concern surrounding Warner Bros.. An expensive production needs sustained attendance, and a subdued debut would place greater pressure on subsequent weekends and overseas markets.
An opening forecast cannot establish a film’s eventual profit or loss. It can, however, reveal how much work remains for the campaign.
Reviews have complicated the pitch
The critical response has been sharply divided. People reported reactions ranging from admiration for the film’s audacity and Cruise’s commitment to criticism of its scale, coherence and tone.
For potential ticket buyers, that creates an uncertain proposition. Cruise’s presence attracts attention, but attention does not automatically translate into enthusiasm for an unfamiliar kind of film.
The promotional campaign has leaned into that disagreement. The Guardian described advertising that places harsh reactions alongside praise, using the controversy itself to generate interest. Whether that approach encourages curiosity or deepens hesitation remains an open question.
Why ‘Verity’ makes the weekend more intriguing
The Hollywood Reporter expects Digger to open substantially behind Verity, the Amazon MGM Studios adaptation of Colleen Hoover’s novel. hollywoodreporter.com
Starring Anne Hathaway, Dakota Johnson and Josh Hartnett, Verity is also scheduled to open on October 2. Its psychological-thriller premise centres on a writer who discovers a disturbing manuscript while completing another author’s book series.
From a marketing perspective, an established novel and a recognisable thriller setup could offer a more immediate hook. Digger, by comparison, asks audiences to take a greater leap into unfamiliar territory.
The audience verdict is still ahead
Cruise has clearly committed to that leap. At the London premiere, Reuters reported that his transformation involved prosthetics and a padded bodysuit, alongside a demanding performance.
The commercial outcome remains unresolved. Strong audience recommendations could give Digger momentum beyond its initial forecasts. A weak response would make its financial challenge harder.
For now, the film’s biggest suspense lies beyond the screen: whether curiosity about Cruise’s unusual gamble becomes an opening-weekend ticket purchase.
How ‘Avengers: Endgame’ Returned to Cinemas and Reclaimed Box Office Glory
Tom Cruise’s ‘Digger’ Faces a Tough Opening: Could ‘Verity’ Take the Lead?
‘Verity’ Could Outopen ‘Digger’: Why Tom Cruise Faces a Tough Contest
‘Endgame’ Returns to No. 1 ‘Avatar’ Loses Its Box Office Throne
Mark Zuckerberg Faces a New Hollywood Reckoning Why Aaron Sorkin’s Film Hits Closer to Home
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