Samara

In the first of several significant flashbacks in “Over Your Dead Body,” Samara Weaving’s unhappy Lisa complains to a friend about a hunting trip her equally miserable husband Dan (Jason Segel) is taking her on. “You know how much I hate guns,” Lisa fumes. “So dangerous.” Turns out, she’s actually telling two lies, which is par for the course for this twisty yet underwhelming dark comedy that views marriage as both a hyperviolent blood sport and a battle to the death.

Based on Norwegian filmmaker Tommy Wirkola’s 2021 “The Trip,” “Over Your Dead Body” concerns a couple whose wedded bliss has faded along with their professional prospects. Dan directed a moderately successful sci-fi film several years ago but is now stuck shooting cheesy pop-up ads. Meanwhile, Lisa’s nascent acting career is flailing. As the movie begins, Dan conspicuously informs his production team that he and his wife are going hiking in the middle of nowhere — something, he insists, the risk-taking Lisa wants to do, despite how perilous that might be. What we soon realize is that he’s creating cover for his nefarious plan, which is to kill Lisa at his family’s forest cottage, making it look like she disappeared without a trace in the woods.

But director Jorma Taccone eventually reveals that it’s not just Dan who has murder on his mind. That first flashback rewinds to Lisa’s simultaneous scheming, claiming to those close to her that Dan longs to go hunting — when, in fact, she’s secretly brought a rifle so that the authorities will assume he accidentally shot himself. (Whatever fears she once harbored about firearms are, clearly, no longer an issue, if they ever were.) Dan is offended when he uncovers her plot: Why would she want to kill him? At least he’s justified, he believes, having caught Lisa in an affair with her scene partner.

More surprises are in store as Dan and Lisa engage in a deadly standoff in the cabin, only to discover that they’re not alone. Another flashback details how two convicted killers, Todd (Keith Jardine) and Pete (Timothy Olyphant), escaped from a local penitentiary with the help of Pete’s girlfriend, prison guard Allegra (Juliette Lewis), and are seeking refuge at the cottage. Suddenly, the feuding married couple must work together to stay alive.

One-third of the comedy troupe the Lonely Island, Taccone previously directed the big-screen adaptation of the “Saturday Night Live” sketch “MacGruber” and co-directed the endlessly rewatchable mockumentary “Popstar: Never Stop Never Stopping.” For “Over Your Dead Body,” he teams with producer David Leitch, whose 87North shingle specializes in R-rated action-comedies like “Nobody” and “Violent Night.” Taccone’s irreverent, slyly shocking style would seem a good match for a story in which the pain of romantic discontent is paired with myriad scenes in which a variety of weapons wreak grisly havoc, including lawnmowers, sports cars, gardening equipment and a sock with a pool ball in it.

But despite Segel and Weaver’s best efforts, they can’t make this bickering duo deliciously awful, the characters proving more grating than hilariously combustible. And when Pete and his cohorts arrive, they’re too broadly quirky to be either menacing or hysterical, although Olyphant’s long-suffering leader has some nice moments slowly processing how dumb Todd and Allegra are.

Other than one queasy homage to “Deliverance,” the film’s handling of the showdown between this drab married couple and the cartoonish criminals is rarely gripping. Instead, “Over Your Dead Body” delivers over-the-top fight sequences emphasizing grimaces and gross-out laughs. People aren’t simply shot in the head — the bullet transforms it into a gooey slab of meat. Fingers get sliced off, stakes are driven through hands and a foot is reduced to bloody tatters. Taccone handles all this with gleeful excessiveness but once you’ve seen one pulverized face, you’ve seen them all.

A droll irony is intended to unfold alongside the rising body count. Dan and Lisa embarked on this getaway to murder one another, but they’ll end up rekindling their love. To be sure, Segel and Weaving are much more winning once their characters start warming to one another. Still, the film feels like a missed opportunity for Weaving, who became a scream queen in the “Ready or Not” films. In those movies, as an unsuspecting bride thrust into a life-or-death situation, she appealingly balanced a convincing physical performance with an understated comedic streak, her beleaguered character enduring one absurdity after another.

Weaving finds herself in a somewhat similar role in “Over Your Dead Body” and this uneven action-comedy is anchored by her had-it-up-to-here performance, which provides a witty insight into marriage that the film otherwise ignores. It’s bad enough that Lisa has to deal with Dan’s insecurity — now she’s got to tangle with some dopey crooks? Women have to do everything in a relationship.

Scream queen Samara Weaving has an extraordinary yell: shrill, feral and ferocious, like a mongoose before it goes on the attack. Its vibrato fury bursts out only when she’s fighting for her life. Otherwise, her newly wed (and newly widowed) Grace MacCaullay stays quiet when being hunted, hence surviving a killer game of hide-and-go-seek in Matt Bettinelli-Olpin and Tyler Gillett’s 2019 hit “Ready or Not,” only to be forced to play again in their echoey sequel “Ready or Not 2: Here I Come.”

In the tradition of “Halloween II,” this one picks up the very second the last one ended. Grace, her white lace dress blackened with blood, is smoking a cigarette outside of an incinerated mansion that belongs to her in-laws, the Le Domas, who are all dead. On this bride’s wedding night, her groom permitted his relatives to sacrifice her to a demon, believing the lore that a wicked spirit named Le Bail gave the family its staggering fortune. They failed; she triumphed.

The first film teased the idea that the family might be superstitious crackpots only to merrily reveal at the climax that the devil is actually real — and that, when disappointed, he makes his minions explode like a shaken bottle of Dom Pérignon. That gag no longer comes as a total shock, but returning screenwriters Guy Busick and R. Christopher Murphy find that the suspense of who is going to pop, and when and why, works just as well. “It’s always surprising,” Grace says with grim humor. (Between this and “Sirāt,” human combustion is the morbid punchline of the year.)

This very silly slasher doesn’t take much seriously, although I appreciated that once Grace exhales her tobacco, passes out and comes to in a hospital bed, she’s been handcuffed to the railing by a detective (Grant Nickalls) who wants to arrest her on suspicion of arson and murder. One real-world rule holds true: Someone’s gotta take the fall when this many rich people die, even if it’s their victim.

Now, four more posh families want to get in good with Le Bail by competing to see who can kill Grace first. Did the screenwriters toss around a dozen other playground games — killer dodgeball, killer cornhole, killer freeze tag — before sticking with the same hide-and-seek set-up? The only change is that there’s more of everything, including more prey as Grace’s estranged sister Faith (Kathryn Newton) gets yoked into the action, grousing that her sibling’s “negative” energy has once again upended her life.

The host of the massacre is the powerful tycoon Chester Danforth (filmmaker David Cronenberg), a hotel and casino impresario, who entrusts the actual event planning to his adult children, twins Ursula and Titus (Sarah Michelle Gellar and Shawn Hatosy). The director of “The Fly” and “Videodrome” isn’t in the film long, but he bequeaths prestige upon these splat-hijinks that they don’t quite deserve. The paterfamilias of gut-wrenchingly emotional body horror would never make a movie like this himself, although I do think he’d be impressed when the visual-effects team makes a human face dissolve like a bath bomb.

The rest of the ensemble represents titans of some vague industry or another from around the globe: the Rajans of London, the El Caídos of Madrid and the Wans of Shanghai, each arriving with multiple family members as backup. A mobbed-up type, Wilkinson (Kevin Durand) of Atlantic City, also pursues Grace as a solo renegade. There’s not much comic zing in the idea that a handful of selfish families rule the world. Still, it’s amusing to watch these soulless ghouls refer to Grace and Faith as “things” and shrug off each other’s deaths, too. Generation by generation, this greedy lot appears to be getting lazier, intoning “Hail Satan” as offhandedly as ordering their butler to fetch them a martini.

Individual characters don’t pop (except, of course, when they quite literally do). The movie would be a bit more interesting if we knew something about each family’s backstory. The one teasing bit of historical intrigue comes when Le Bail’s lawyer (Elijah Wood) insists that the rules state each clan must attack Grace and Faith using weapons from the era in which their ancestors made their satanic pact. It never gets mentioned again, but I spun restless fictions seeing the Danforths stab the girls with railroad spikes while Olivia Cheng’s more modern Chinese heiress chased them with a drone.

There’s still an awful lot of random gunfire and not much enticement to hang onto, nor any sort of a story in this dashed-off, deadly spin on “Succession.” I’ll note that the demon is a more honest and fair negotiator than his vassals, who occasionally cheat and are punished in exactly the way you’re hoping to see.

Hatosy’s Titus is the Danforths’ disappointing fail son and the actor keeps his face in a delightfully foolish little pout. But Titus’ fever to prove that he’s his own man makes him unpredictable and dangerous — and makes him the only villain with more layers than one. Still, my favorite of the ensemble is Maia Jae’s Francesca El Caído, the jilted former lover of Grace’s late husband, who struts into the film like a hellcat, fighting for her own ego as much as Le Bail’s tempting offer of world domination. Her sloppy showdown with Grace is the action highlight.

None of this is scary. The directors, who have also dabbled in the “Scream” franchise, would rather get a laugh than a gasp. Their favorite move is a gasp-laugh, as when they flash a gruesome image on screen that’s so disgusting you can’t help but giggle.

Yet, the prankish tone keeps Grace from having much of a personality, other than a rebellious screw this. Whenever a scene gives her a chance to catch her breath, it squanders it on a go-nowhere running joke about her desperate search for a cigarette.

At least Weaving has her scream and Newton, her impressive ability to take punishment. While new to this particular series, Newton is a skilled cartographer of comedy-horror terrain as the star of “Freaky,” “Lisa Frankenstein,” and the directors’ previous film, “Abigail.” Her kooky chipmunk moxie lets her get through any script relatively unscathed, including this one. And she has one of the best laugh lines in the movie when she bats her eyes at the baddies and tries to placate them with, “You guys seem like good people.”

The sisters’ mutual antagonism has a few clever beats, like when they bicker over who had the superior working-class restaurant job, Grace waiting tables or Faith as a hostess. But the few times they’re forced to play their hurt feelings sincerely are as forced as the moment when Grace zips her gory wedding gown back on before it’s even been washed.

Nevertheless, kudos to the costume team for a different outfit that Grace wears in the second half of the film that’s an absolute jaw-dropper of goth couture with black netting and a tiara. It pairs majestically with Weaving’s defiant chin and gleaming eyes. Despite this sequel’s thin and rote stretches, it once again closes strong with a few images that will stick in your head for at least a week or two. No spoilers, but it’s no coincidence that “Here I Come” finally gets more interesting once it tires of hide and seek. Finding a fresh plot twist is the only way it ekes out a draw.