Compare Ready or Not 2: Here I Come vs Peaky Blinders: The Immortal Man

Reviewers who discuss the horror side often say the sequel is less frightening than the first, with action and gore replacing sustained fear. A few still find individual stretches dark, creepy, or tense.

The eerie, supernatural-leaning material is praised as some of the eeriest material the franchise has attempted.

One reviewer criticizes a sequel music choice as less original than the first film’s use of the song, making the soundtrack feel more recycled than inspired in that moment.

Modern-rock needle drops remain a signature strength and are widely praised for driving emotion and atmosphere. A few reviewers find the choices dated, overly loud, or less appealing outside the iconic theme reprise.

One review raises concern that the international wealthy families risk leaning on cultural stereotypes, while also crediting the filmmakers with keeping those characters unpredictable enough to avoid a wholly one-note treatment.

Tommy’s spiritual and gypsy side is praised as one of the most worthwhile expansions of his character in the film.

The editing receives specific praise for smoothly blending the first movie’s ending into the sequel’s opening and creating a faux-continuous transition. Elsewhere, continuity-style nitpicks temper that positive impression.

Hazy reverie-style editorial cuts are criticized as visually cheesy and as interruptions to the otherwise painterly presentation.

The Grace-Faith drama is highly divisive. Their reconciliation adds a welcome personal layer for some viewers, but many critics find the bickering repetitive, the resentment unconvincing, or the emotional beats poorly placed amid a life-or-death hunt.

The film’s grief-heavy, introspective drama gives Tommy’s final chapter weight for many viewers, though its persistent misery and brooding occasionally overwhelm the entertainment.

Pacing is sharply split. Several reviewers praise the immediate start, breakneck movement, and strong momentum, while others say exposition, relationship detours, a long final act, or the second half slow the movie down.

Pacing is the most consistent weakness: the first half is repeatedly described as slow or drawn out, while the later material can feel rushed as too much story is compressed into feature length.

The enlarged rulebook is a frequent stumbling block: multiple reviewers call the mythology convoluted, inconsistent, or overloaded with explanation. Others enjoyed the absurd clauses and thought the rules created fun opportunities for schemes and surprises.

Some newcomers report following the story surprisingly easily without heavy recaps, but other reviews point to shaky logic or exposition that does too much work.

The story works best when it keeps Grace moving through the new hunt, but several critics found the expanded premise over-plotted, thin, or harder to justify than the original. A smaller group thought the sequel found a clever enough route forward.

The core legacy-and-war story is compelling and emotionally satisfying for many reviewers, but others call the movie unnecessary, thin, half-baked, or unable to justify rewriting the series’ prior ending.

The gore is intentionally extreme and often part of the fun, but several reviewers think the violence crosses into ugliness when beatings linger or the brutality feels less cartoonish. Others explicitly appreciate that the gore stays purposeful and theatrical.

The film’s cold-blooded, stylized violence generally fits the franchise’s appeal and is often balanced with swagger or dark humor, though it can edge into grim excess for some viewers.

Visual reactions range from lush, sinister, and cleanly legible to flat and drab. The strongest praise goes to how the camera handles crowded action and the expanded spaces, while the harshest criticism says the sequel lacks the first film’s moody visual punch.

The cinematography is the clearest consensus strength, praised for striking light, shadow, mud, rubble, wintry landscapes, and a genuinely cinematic sense of scale.

The eat-the-rich message works best for reviewers who enjoy the sequel doubling down on corrupt power and oligarchy. Others find the satire blunt, shallow, repetitive, or less incisive than the first film’s simpler class conflict.

The strongest readings focus on legacy, self-definition, family, and the cost of valuing power over people. One severe critic felt the film squandered the larger sense of purpose built around Tommy.

The sequel’s darker social undercurrent works for reviewers who see more weight in its attack on entrenched power. Others find the thematic bite too thin to match the louder scale and bloodshed.

Legacy, grief, trauma, memory, family inheritance, and self-definition give the film substantial thematic weight. Critics who resist the movie argue these ideas are compressed, overplayed, or left insufficiently explored.

Character depth is one of the more consistent weaknesses. Grace gets meaningful growth in some reviews, but many critics find Faith, the hunters, and much of the expanded ensemble underwritten, archetypal, or crowded out by the game mechanics.

Tommy’s reckoning with grief and Duke’s struggle with his father’s legacy work for many reviewers, but the compressed format leaves several supporting characters—and, for some, Duke himself—feeling thin or underdeveloped.

Rewatch appeal is mixed. One critic says the two movies make an easy back-to-back watch and another is eager for more, while less enthusiastic viewers say this sequel is less memorable and does not demand repeat viewing.

Rewatch interest is sharply polarized: one enthusiastic reviewer immediately wanted another viewing, while several detractors say they would not revisit it and even feel it harms the series’ rewatchability.

The bloody effects can be gleefully satisfying, but repeated spontaneous-combustion gags lose impact for several reviewers. What was once a surprise becomes predictable when the sequel returns to the same goopy payoff too often.

An apparent CGI hat is called distractingly bad, standing out as a conspicuous weakness in the effects work.

The emotional core is inconsistent. Some reviewers are genuinely invested in Grace and Faith reconnecting and appreciate the added heart, while many others find the sister conflict undercooked, forced, or too thin to carry the expanded story.

For supporters, the film delivers grief, regret, family conflict, and a powerful farewell with real force. Detractors found key deaths rushed, contrived, or too hollow to land.

The sequel has flashes of striking visual personality, from gothic spaces to Renaissance-inspired imagery and stylized bloodshed. Some reviewers find that look bold and playful, while others see a blander, less audacious presentation than the first film.

The visual presentation is consistently celebrated: smoky interiors, chiaroscuro lighting, slow-motion swagger, period grime, and large-scale wartime imagery make the movie look distinctly cinematic.

The screenplay gets credit for finding witty variations on the first movie’s structure in the strongest reviews. Less enthusiastic critics think the added rules and emotional subplot make the writing less focused than it should be.

The script earns credit for themes, twists, and some strong dialogue, but criticism is substantial: exposition, clichés, rushed character work, and compressed plotting repeatedly surface.

As a horror-comedy sequel, reactions range from enthusiastic approval to outright rejection. Fans of its blood-soaked, knowingly ridiculous formula often call it a worthy continuation, while detractors see an unnecessary and inferior repeat.

As a gangster-period-drama send-off, the movie retains much of the show’s identity and pulp energy. Several critics still feel it plays more like an extended television episode than a fully realized feature.

Costume work receives mixed notice. One reviewer says the design supports the film well, while another points to visibly cheap construction in some of the wealthy characters’ clothing.

The return of Tommy’s tailored Peaky Blinders look remains a major visual pleasure, with covetable coats and sharp suiting earning praise. One review found Duke’s modern-looking styling immersion-breaking.

The movie plays especially well for horror fans, fans of the first film, and lively theater crowds. Several reviewers specifically describe it as a communal screams-and-laughs experience, while colder reactions suggest casual viewers may be less impressed.

Longtime Peaky Blinders fans are the clearest audience, especially for the callbacks and emotional closure. Reviewers disagree on newcomers: some found the film easy to follow, while others strongly recommend watching the series first.

Entertainment value is genuinely split but leans positive: many reviewers call the sequel a blast, a crowd-pleaser, or a solidly fun bloodbath. The negative camp sees repetition, lore, and overlength turning the same ingredients into diminishing returns.

Reactions range from gripping, highly enjoyable fan service to dull, hollow, or unnecessary viewing. A common middle ground is that the movie becomes much more entertaining after its slow first half.

The expanded mythology is the biggest point of disagreement. Some reviewers love the larger cabal, stranger rules, and new possibilities; others say the John Wick-style expansion makes a simple premise cluttered, overexplained, or less fun.

For supporters, Birmingham and the Peaky underworld feel convincingly restored and expanded into wartime. Critics miss the old ensemble and argue the newer, thinner supporting world makes the film feel smaller than the series.

The comedy frequently lands through gruesome slapstick, inept rich villains, Elijah Wood’s deadpan delivery, and the film’s self-aware excess. Still, a sizable group finds the jokes forced, repetitive, tepid, or less sharp than the original.

Dark comedy—especially the Garrison grenade sequence and father-son mud fight—provides welcome relief from the gloom. A few detractors find some of the comic touches cheesy rather than sharp.

Samara Weaving is the clearest point of agreement: most reviewers find her magnetic, physical, expressive, funny, and convincing as a traumatized survivor pushed straight back into danger. A small minority felt the sequel gives Grace less range or weakens what made her special.

Cillian Murphy’s return as Tommy is overwhelmingly praised for its weary stillness, menace, grief, and emotional control; even harsh critics routinely identify him as a major strength.

Originality is a major weakness in the consensus. Even positive reviews often admit the sequel is essentially another round of the same game, while its defenders argue that the new scale and rules provide enough variation to justify returning.

Many reviewers see the movie as a familiar one-last-job epilogue or a reworking of old Peaky Blinders beats. A smaller group praises its bolder choices and fresh generational angle.

Most criticism lands on how closely the sequel repeats the first film’s game and rhythms, with fewer surprises and less novelty. Some reviewers still found enough new rules, characters, and twists to keep the familiar structure lively.

The central comeback structure, Nazi scheme, and legacy conflict are often described as familiar or clichéd, with several critics saying the film rarely finds a genuinely new plot shape.

The ending divides opinion. Some reviewers enjoyed the final turn, satisfying climax, or setup for more, while others found the payoff unsurprising, rushed, overstuffed, illogical, or simply weaker than the first film’s finish.

The ending is intensely divisive: many call it fitting, powerful, or even perfect closure for Tommy, while others believe it needlessly overturns the stronger symbolism of Season 6.

The cast is widely viewed as a major asset, with reviewers repeatedly praising the performers’ commitment to the movie’s ridiculous, bloody tone. Even several negative reviews say the acting is stronger than the material around it.

The cast is one of the film’s safest bets: even many negative reviews praise the performances, with the central actors repeatedly credited for elevating uneven material.

The movie’s heightened logic is easier to accept when Weaving grounds Grace’s ordeal, but several reviewers call out extreme plot armor and implausible escapes. The larger, more game-like structure can weaken the sense that the danger is real.

Period immersion is weakened for some by modern-looking styling, oversized stakes, and questionable wartime plausibility. The film’s stylized mythmaking of Tommy also draws skepticism.

The supporting cast is a major source of fun, especially Elijah Wood, Shawn Hatosy, Sarah Michelle Gellar, David Cronenberg, and Kathryn Newton. The main caveat is that the larger ensemble leaves some performers and villains with too little material.

The supporting ensemble is generally considered strong, particularly Keoghan, Roth, Rundle, Graham, and Ferguson. The bigger complaint is often that the movie underuses them or gives their characters too little depth.

Direction is praised when the film turns carnage into readable, energetic horror-comedy and stages its biggest set pieces with confidence. More negative reviews fault the filmmakers for choosing repetition and safe franchise expansion over sharper invention.

Tom Harper is frequently praised for confident staging, visual control, suspense, and explosive set pieces. A few reviews fault specific tonal or narrative choices even while admiring the filmmaking.

The action is one of the sequel’s strongest and most discussed features. Reviewers repeatedly praise the ballroom fight, brutal brawls, creative kills, and bigger set pieces, though a minority call some fights repetitive, stiff, or overextended.

The action lands best once Tommy returns to Birmingham, with the pub confrontation, shootouts, explosions, and finale frequently singled out. Critics who wanted more momentum found the action too delayed or the climax predictable.

Weaving and Newton’s sister chemistry works very well for many reviewers, who like their comic friction, physical teamwork, and contrasting energies. Others find the relationship rushed or forced, so the performances often land better than the written estrangement.

Murphy and Keoghan’s father-son dynamic is often described as raw, magnetic, and powerful. A smaller group felt the pair never generated the expected sparks or emotional bond.

The larger estate, golf course, casino, ritual spaces, and other status-heavy environments give the sequel a fitting arena for its expanded game. Reviewers praise the scale and design, though one felt the golf-course potential was not fully used.

Blitz-era Birmingham, grime, rubble, docks, pubs, and warehouses are generally rendered with impressive tactile detail and scale. One negative review thought parts of the production looked like a soundstage.

Runtime is a recurring concern among less enthusiastic reviewers, who say the movie runs long, begins to feel its length, or adds minutes the story does not need. A few faster-paced reviews had no issue with the 108-minute ride.

At roughly feature length, the movie often feels too compressed for the number of character turns and plot developments it attempts. Several reviewers explicitly wish the story had been a season or miniseries instead.

Suspense is one of the clearest tradeoffs of going bigger. A few critics find strong tension in individual chases and fights, but many miss the first film’s intimate terror and say the wider grounds, predictability, and plot armor drain urgency.

Several set pieces generate strong tension and claustrophobia, especially the pub and tunnel material. Negative reviews say predictability weakens the climax and removes the sharper twists associated with the series.

Dialogue earns praise when the movie fires off snarky one-liners or lets Elijah Wood deliver the rules with dry precision. The sister arguments and heavy exposition draw much harsher reactions, often described as clunky, repetitive, or unnatural.

Dialogue receives mixed marks: some reviewers praise sharp lines and economical exposition, while others call it simplistic, clunky, corny, or overly explanatory.

The horror-comedy tone works when cartoon gore, deadpan humor, and self-aware absurdity stay in sync. Several critics say that balance breaks when prolonged cruelty or darker violence collides with the movie’s otherwise playful register.

The sombre, gothic, highly stylized mood works for some as a fitting final chapter, but others find the film tonally off, overly miserable, campy, or caught awkwardly between old and new Peaky Blinders.

The theatrical value depends heavily on taste. One reviewer urges seeing it with a crowd rather than waiting for streaming, while another says streaming is the safer choice if the sequel’s repetition makes a ticket feel hard to justify.

The big-screen outing is framed as earned and worth paying for, with the theatrical presentation treated as part of the appeal.

An apparent CGI hat is called conspicuously poor, creating a distracting visual blemish in the effects work.

Aggregated critical reaction is broadly favorable but not uniform, with enthusiasm for craft and performances tempered by repeated complaints about pacing, script compression, and sequel necessity.

The film restores the show’s swagger, music, visual language, and callbacks, satisfying many longtime fans. Others see missing characters and major legacy decisions as betrayals of the series’ established arcs.

Reviewers appreciate the use of World War II events and the counterfeit-currency plot as historical grounding. Others question specific period details, plausibility, or the sentimental elevation of Tommy within wartime history.

Makeup and prosthetic work are praised as part of the movie’s practical gore package, especially in its messiest set pieces. One reviewer also flags rough wig continuity, keeping the reaction from being uniformly positive.

The practical gore work is singled out as a strength, with prosthetics, makeup, stunts, and physical effects combining to make the biggest kills feel messy and theatrical.

The romantic material fares poorly, with Tommy’s sex scene described as cheesy rather than convincing.

The score is repeatedly praised for building dread, atmosphere, and intensity, especially as Tommy’s return pushes the film toward its climax.

The sexual material draws a negative reaction because Tommy’s sex scene is viewed as cheesy and out of place.

The soundscape can feel forceful and theatrical, with one review highlighting Dolby Atmos impact and another calling the sound design incredible. A major dissent criticizes an aggressive music-to-dialogue mix.