The screenplay never puts in the work to get them to see where they went wrong. It is more like their hatred stops making sense to them because they need to cooperate to stay alive.

Bob Odenkirk is, of course, perfect for the material, bringing his dead-pan humor and amusing realism to a deadly situation. It is bloody and explosive, after a strangely slow setup.

It raises a lot of questions about love, gender, mental health, youth and the ability to grow/change, satirizing these concepts and declining to do anything with them, besides using them to mock a generation claiming to be more in touch with their feelings.

Galaxy packs in even more references, jettisoning any semblance of a story to make space for as much as possible. Calling this thin is a massive understatement.

Not only does it feel like a play, it feels like a one-act play, unconvincingly expanded to feature-length. It is an amusing idea that grows tiresome before the end, making the bloody climax drag more than it should.

Its sense of humor is refreshingly goofy, yet it really only has a few jokes. It is an amusing concept that doesn’t have enough ideas to make it worth a look.

Even with the derivative plot and missed opportunities, the Ready or Not universe contains enough cleverness to get through a second round.

It ends up playing it pretty safe, giving its audience a production that acts like it is risky, but ultimately isn’t close to being as bold as either of its two most obvious inspirations.

There is something to be said for a charming story that can make the whole family laugh, even if Pixar used to stand for more than a decent diversion.

It is not a traditional romance, yet there is love here, portrayed in a way we don’t often see on the big screen.