When you have a hit movie these days, the question always comes up about the sequel. There are very small studios that love more than the essentials IPand the pressure to turn independent stories into franchises, regardless of their merits, has never been more apparent. After the success of 2019‘s Right or wrong (which received good reviews and made a surprising return on its budget) the sequel appeared to be approved, despite the fact that everyone from the first film – except for Samara Weaving’s unfortunate bride Grace MacCaullay – was killed. The succession was officially confirmed in 2024taken from a .“my sister’s story” from filmmakers Matt Bettinelli-Olpin and Tyler Gillett who were developing Weaving and Kathryn Newton, with a script by Guy Busick and R. Christopher Murphy.
As the title suggests (despite the .‘2‘ in promotional materials, the film itself chooses to go easy Right or wrong: Here I come, clearly trusting the audience to understand that it’s a sequel more than Searchlight Pictures’ marketing team) the film picks up where its predecessor left off. A wounded, bloodied and recently bereaved Grace recovers from her ordeal in the hospital, only to discover that she has accidentally set herself up for a new nightmare. With her evil in-laws out of the picture, Grace must now fight for her life against a grand council of cults from four different families, formerly led by the shadowy Chester Danforth (a welcome cameo from David Cronenberg!) and her older twins Ursula and Titus (Sarah Michelle Gellar and Shawn Hatosy) who don’t tend to lose. To make matters worse, Grace is reunited with her estranged sister Faith (Kathryn Newton) who is not happy to see her.
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To some extent Right or Wrong: Here I Come retreads a familiar scene: the group plays another deadly game of hide-and-seek; Grace wears her bloody wedding dress despite the impossibility of walking in such a dress; there are many indications of demonic business This Bail is worshiped by the nobles. The sequel calls for a bit more bloodshed – poor Grace can’t escape the pain, and there’s an extended scene where Faith finds Titus’s most eye-catching beat. Some of the violence is slapstick (lots of exploding bodies) and the presence of Elijah Wood as the impartial lawyer overseeing the practice helps keep the balance of horror comedy.
A reconciliation between Grace and Faith feels inevitable from the off, authorized plot contrast with Ursula and Titus. Weaving and Newton are well connected with their chemistry and their physical similarities, as is Gellar and Hatosy, although the rest of the group is not yet able to look inside, shrinking and quickly exiting except for Maia Jae, who plays the scorned ex of Grace’s dead husband and gets a well-planned fight scene. .‘Total Heartbreak’. There’s nothing subtle about these films, from their Eat The Rich message to their take on the world, but throughout their arrangement they strike a welcome tone between self-awareness and retro silliness.
While Bettinelli-Olpin and Gillett have delivered a sequel that’s ultimately enjoyable and slick with its acting power and thrilling gore, there’s a sense that the new ideas are a little thin on the ground, written with cartoonish violence and a few decent twists. It would be better to stop playing early than to be the last to the party.
