‘Ready Or Not’ Review: Irish Rites-of-Passage Debut is Lively and Vital
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Loading... - Arbi Mounir
- 27 Feb 2025
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In Ready Or Not, Claire Frances Byrne’s feature debut, the long days of summer take a dark turn for a group of teenage girls in late ’90s Dublin. What begins as a lively coming-of-age romp gradually evolves into a more disturbing exploration of adolescence, marked by predatory boys, peer pressure, and a troubling lack of consent. This film deftly transitions from the lightheartedness of Mean Girls and Clueless to the more unsettling territory reminiscent of Catherine Breillat’s work, making it a significant entry in the festival circuit following its world premiere in Dublin.
Byrne, who previously impressed with her short films Sister This (2019) and Hello? (2021), reunites with screenwriter Lynn Ruane for this project. Set in a Dublin housing estate in 1998, Ready Or Not centers on the friendships of Katie (Ruby Conway Dunne), Danni (Molly Byrne), and Sarah (Alicia Weafer). The narrative captures the essence of teenage life as the girls navigate the complexities of friendship and burgeoning sexuality, with Sarah, a year older, embodying the archetype of “14 going on 40.”
Initially, the film follows a familiar template of coming-of-age stories, showcasing a summer filled with friendship, clueless parents, and a chorus of foul-mouthed girls. The voice-over narration from an older Katie (voiced by Jordanne Jones) adds a reflective layer, emphasizing her youthful ignorance: “I didn’t have a fucking clue.”
However, the tone shifts dramatically during a party scene where Danni, increasingly intoxicated, becomes the life of the event. The aftermath leaves her emotionally vulnerable and with little memory of what transpired, hinting at something deeply troubling. Byrne skillfully manages this tonal transition, making the audience feel complicit in the carefree atmosphere that precedes the darker revelations.
As the story unfolds, Katie grapples with her own challenges, fending off the crude advances of Steo’s boorish brother, Byrner (Lewis Brophy), while being drawn to the charming David (Dane Whyte O’Hara). Ruane’s screenplay, while occasionally lacking subtlety, effectively conveys the complexities of teenage experiences and the recalibration of friendships in light of harsh realities. It addresses themes of education, ignorance, respect, and the double standards that plague young women—where girls who abstain from sex are labeled “frigid,” while those who engage are branded “sluts.”
Ready Or Not oscillates between alarming and poignant moments, buoyed by a talented young cast. Grendon’s portrayal of the well-meaning but weak-willed Steo, Byrne’s exuberant performance as Danni, and Conway Dunne’s vital presence as Katie all contribute to the film’s emotional depth.
In conclusion, Ready Or Not is a lively and vital exploration of adolescence that resonates with its audience, capturing the tumultuous journey of young girls navigating a world fraught with challenges. Byrne’s debut is a compelling reminder of the complexities of growing up, making it a noteworthy addition to the landscape of contemporary coming-of-age cinema.
