Send Help

First all, I have to say I love both Dylan o'Brian and Rachel McAdams. Not to mention Sam Raimi is a great director. But the burger relation comes from your craving it all day and after you eat it, you're just like "meh". It's entertaining, sure, but a little overhyped. The acting is great, some of the scenes are fun, but the plot just felt flat at times. Def worth a watch, but it def feels a little underwhelming. A 6/10 is the best place for it.

Send help is good, but did I enjoy it? The answer is no. In the beginning I thought this would be about the little man vs the big man. And it kind of is, except I hate the protagonist. I thought she was irritating from the beginning. Then I thought her biggest mistake would be not wanting to get off the island and keeping Bradley there, who by the way is also irritating, because he is a dick. I thought Bradley was a psychopath and Linda was provoking her, but it was the other way round. Was Bradley a massive dick? Yes. Did he deserve most of what he got? Yes. Did his girlfriend and the local guy deserve to die? Hell no. I know characters in a film are not supposed to have perfect moral, but I need a character to like and for the first half I had that, but in the end, all of that was gone. The cinematography is beautiful, I especially loved the night shots with the fire giving light. I saw many people thought the effects were wonky, but I think it's just stylistic. To be accurate, it gave me early 2000's vibes, Spider-Man vibes if you will. The pacing was not the best though. The cast is good and the performances too. Send Help is a well-made film, but unfortunately I did not enjoy it.

26 minutes in... I've heard this is amazing, and I've heard this is terrible... It was available to buy on prime for 9.99, so I decided to give it a try and see who's right. In the first 26 minutes we get get a basic setup: An eccentric woman is passed over for a promotion that had been promised to her, and her new boss is a real piece of work. He needs her help so he asks her to be on a plane, but he frames it as an opportunity for her to prove herself. The plane crashes, and the woman finds herself stranded on an island with her boss. My initial impression of the woman is that she's a quirky loner type, and I feel bad for her because of the way she's been treated. Initial impressions of the boss is that he's a mean spirited person, and thinks very highly of himself... Not someone you'd want to be stranded with. I'm about halfway through this and there hasn't been a ton of action. It's mostly just them on an island not liking each other very much. With 31 minutes left I feel like I have a pretty good idea of what's about to happen. This movie isn't what I expected it would be at all... So I just finished... I don't know what to think really. I wasn't crazy about the ending and I'm trying to think of any moments that really stood out to me, but there weren't many. Not a lot happens here unfortunately. This is not an amazing movie, at no point did I feel amazed by what I was seeing. That being said, it's not a terrible movie either.. for me it was just ok. Technically I own this now, but I doubt I will watch it again. It wasn't good enough for a re-watch for me, but it's not so bad that I regret spending 10$ to watch it, if that makes sense. My rating is 6 out of 10. Give this review a thumbs up if you have thumbs.

Many reviews say this is a one sided story, but it's clearly not, even though ther is clearly a protagonist and an antogonist trope going on, both are undoubtedly morally depraved. May the most deranged psychopath win. There's many weird decisions and unrealistic situations, but it's a Hollywood movie, it's fine. The CGI was distractingly mid, and some of the more shocking scenes were more funny-terrible than gruesome horror. Not really sure what the moral of the story is supposed to be, or if there even is one. It's just 2 psychos competing.

Send Help (2026) is a surprisingly satisfying watch after a long time. The movie keeps things simple and engaging without trying to be overly deep. The survival aspect is handled well enough to keep you hooked, and the ending feels complete and rewarding. There are a few small plot holes here and there, but they don't really ruin the experience. It's not a movie that demands heavy thinking-just a solid, casual watch you can enjoy from start to finish. Overall, not perfect, but definitely worth watching if you just want something interesting and satisfying.

Send Help is a fun, high-concept survival thriller that doesn't quite live up to what you expect from Sam Raimi, but still holds attention. The boss vs employee reversal gives the film a strong thematic spine, and it's engaging to watch that power dynamic flip under pressure. The problem is that the film doesn't trust its own ideas. Instead of letting themes emerge naturally, it spells them out too bluntly, and once the reversal is established, the trajectory becomes fairly predictable. The horror elements also feel surprisingly restrained for Raimi... there's a sense that the film could have gone darker or more intense but holds back. That said, Rachel McAdams absolutely owns the movie. She fully inhabits Linda and carries the film through its weaker stretches. 6.5/10: It's enjoyable, just not as sharp or memorable as it could have been.

I honestly wished I liked this more, but Send Help felt so frustratingly mid to me. I didn't really dislike it, but then again I didn't really like it as much as I expected either. The horror elements are solid but a bit too restrained for my taste. There's some gore and a lot of blood, yet nothing escalates to the point where it becomes genuinely memorable. It's much more of a dark comedy with survival elements than straight horror. And while there are a handful of genuinely funny moments, several jokes fall flat, especially the gross-out humor, which feels more awkward than scary or amusing.

Linda Liddle is overlooked for a promotion at work, the office punchline, mocked and quietly dismissed by the boys' club around her. When she finally gets a chance to prove her worth, things go spectacularly wrong, and she and her boss find themselves stranded on a desert island. It's such an interesting mix - imagine Cast Away meets Misery, with a streak of black humour running straight through the middle. I thoroughly enjoyed it. The format feels like a throwback: the overlooked female employee pushed too far, quietly calculating her moment. What I particularly liked is that Linda isn't written as sweet or sentimental to make her easier to root for. She's prickly, awkward, and carries a definite edge. It makes her far more interesting, and far less predictable. There's one scene in particular that will have you squirming in your seat..... I'll say no more. Let's just say there are definite Kathy Bates undertones. Dylan O'Brien is excellent as her smug, slightly insufferable boss Bradley, but once again Rachel McAdams delivers a brilliant performance. She holds the whole thing together with an unnerving mix of vulnerability and quiet menace. Fresh, funny, surprising, and very enjoyable. 8/10.

Was quite a fun film in all honesty. Didn't know who the bad guy was for most of it. The CGI seemed a little cheap but its not the worst. McAdams acting is spot on. Giving off a bit of Misery, Kathy Bates vibes throughout some parts. But the ending, what a big let down in my opinion. It's like they run out of money and time and just said "Yea, that'll do". Don't let that discourage you from seeing it, as I am only one person. It is a good film but the end ruined it for me. It is worth seeing.

Stories of isolation and survival have long served as mirrors for the societies that produce them. First published in 1719, Daniel Defoe's 'Robinson Crusoe' set the template for the lone castaway wrestling with both nature and self. Later works, from J. M. Barrie's 'The Admirable Crichton' to William Golding's 'Lord of the Flies', used the desert-island scenario to interrogate class, authority and the ease with which social order gives way to brutality. By the late 20th century, the castaway narrative had taken on explicit political weight: John Boorman's 'Hell in the Pacific' distilled the form into an anti-war parable, trapping two enemy soldiers together and forcing a cooperation which exposed the futility of conflict. In more recent incarnations, the genre has narrowed its focus towards the intimate mechanics of human endurance, personality and power. Sam Raimi's darkly comic 'Send Help' offers a contemporary twist on the castaway story, stripping the scenario down to its most volatile element: two people who are far less equipped to survive one another than the island they're stuck on. It follows Linda Liddle, a capable but undervalued professional whose arrogant superior, Bradley Preston, belittles at every turn. Her male colleagues take credit for her work, reinforcing a patriarchal corporate hierarchy that consistently leaves her sidelined. On the way to Bangkok, their plane crashes and Liddle and Preston find themselves stranded on a remote island, forced to confront not only the challenges of the wild, but each other. Who's the boss when the hierarchy is gone and only instinct remains? Written by Damian Shannon and Mark Swift, 'Send Help' is engaging and tightly scripted, anchored by characters who feel believable and fully realized. Liddle and Preston share a dynamic that rings true: her competence and understated frustration contrast sharply with his arrogance and entitlement, creating a friction that powers the narrative. Once stranded on the island, Preston's usual confidence and sense of superiority quickly prove comically ineffective; he is forced to rely on Liddle, whose practical skills and calm judgment emerge as the real tools for survival. The film subtly critiques corporate "bro" culture and the kind of frat-boy arrogance that can dominate certain workplaces, showing how these patriarchal attitudes are ultimately unfit for the real challenges of life. Liddle, meanwhile, undergoes a satisfying arc of personal growth. Away from the confines of the corporate jungle, her awkwardness diminishes and she develops confidence in her own abilities, discovering a resourcefulness and self-assuredness that were previously overshadowed. Further, Shannon and Swift's dialogue captures how people actually speak, with humour and tension that feel natural rather than expository. Only in the third act does the narrative falter slightly, when an unnecessary twist muddies the otherwise clear trajectory. Even so, the interplay between the two leads remains compelling, and the film succeeds in making you understand not just who they are, but why they behave as they do. Throughout, the laughs come fast and dark, emerging from chaotic set-pieces, mischievous antics and the sharp dynamics between the pair, all delivered in true Raimi fashion. It is unmistakably a Sam Raimi picture. Classic moments of over-the-top humour, inventive gore and escalating madness work in tandem with sequences where the natural environment is used to generate unease, echoing the techniques that made 'The Evil Dead' films so effective. Rain, shadows and gargantuan trees are active instruments of suspense, amplifying the atmosphere of isolation and dread. Raimi's signature frantic POV shots- whip-like camera sweeps tracking characters through space- appear, maintaining energy while showcasing Raimi's playful yet precise command of visual storytelling. Bill Pope's cinematography is striking, immediately immersing the viewer in the film's world. The framing of the environment- dense foliage, crashing waves, wide, open stretches of sand- emphasizes both isolation and vulnerability, while extreme close-ups heighten tension. At one point, there is a subtle nod to 'Hell in the Pacific': the two characters stand on opposite sides of the frame, the vast expanse of beach between them visually signalling the emotional and psychological distance separating them. Ian Gracie's production design, alongside the makeup, costume design and practical effects, work seamlessly with Pope's lensing, creating a world in which gore, filth and chaos feel immediate. Danny Elfman's score punctuates the action with a mix of whimsy and menace, accentuating both the film's comedically acidic tone and its moments of genuine intensity. Additionally, Bob Murawski's editing is sharp and energetic. The film flies by at a fast pace. Rachel McAdams has rarely been better, bringing to life Liddle's awkward charm, emerging confidence and sharper, darker edges. She navigates the film's comedic bedlam and tense moments with ease, delivering a performance that's as funny as it is grounded. Dylan O'Brien perfectly captures Preston's smugness and entitlement, while subtly revealing the cracks in his overconfidence. His performance balances arrogance with vulnerability, making the character both infuriating and oddly relatable; the perfect foil for McAdams' Liddle. 'Send Help' is a wild ride full of pitch-black humour, proving Sam Raimi hasn't lost his touch. The film balances character-driven storytelling with outrageous set-pieces, inventive action and a kinetic visual style that keeps every scene brimming with tension and absurdity. Strikingly shot, strongly acted and boasting a stirring score, it's a lean, inventive genre piece that understands exactly when to excite, when to amuse and when to do both at once. In the end, 'Send Help' needs no rescue; as a piece of filmmaking, it's anything but lost.

Send Help marks Sam Raimi's important return to a territory that has always been his natural habitat: cinema made with personality, conscious exaggeration, and creative freedom. Far from the rigid constraints of major studios and shared universes, the director returns to playing with horror, comedy, and absurdity in a narrative that does not try to be bigger than it is. The result is a film that is direct, provocative, and, above all, faithful to its own premise: using an extreme situation to expose the worst, and most ridiculous, of human behavior. Without any pretense of sounding profound or grandiose, Send Help finds space to discuss power, hierarchy, and ego in an almost cruel way, transforming a story of survival into an uncomfortable moral game, in which the viewer is constantly forced to rethink who they are rooting for. Raimi is too comfortable in his own signature style, but still captivating from start to finish, evoking a clear nostalgia for 1980s horror films without ever seeming like a simple, empty repetition. Send Help is not a film that attempts to reinvent horror or completely subvert the genre. On the contrary, Sam Raimi plays on comfortable ground, revisiting ideas, images, and sensations he has already explored throughout his career. This security, at times, borders on repetition and culminates in a rushed and predictable ending, which sounds contradictory for a director known for daring more. Even so, even in this safer mode, the film works. It is a solid return for Raimi to the genre that made him famous, delivering an entertaining, provocative experience that is true to his identity. Without great ambitions, Send Help proves that, when free from external constraints and expectations, Raimi still knows exactly how to conduct a horror story that disturbs, entertains, and holds your attention until the end and, more importantly, makes you want to see the director exploring this fertile ground again.

My expectations were quite high going into this movie, and unfortunately, they fell flat. It started out well with an interesting concept, but the execution was terrible. The CGI was bad. Characters were doing things that were simply unrealistic and implausible. The movie tried to be a thriller, survival, film, comedy, and romance, all at once. It was too predictable and not well directed. Unfortunately, this is not one I would recommend.

This review will contain minimal spoilers, for it's best to go into this film with as little info as possible. The film follows a put-upon and mousy employee, Linda, and her domineering boss, Bradley, who, after a plane crash, become marooned on an island. What ensues is a great deal of tension as they try to survive. What makes this film really work is the fact that it is not only entertaining but also has substance to it. It is really gratifying and bracing to see an underdog have their day in the sun and the workplace bully finally get his comeuppance. Or at least that's the setup here. Gird your loins for this fun, twisty ride of a film. It is a pleasant mix of horror, thriller, and comedy. Just as the power dynamics shift throughout the film, so do the moral dynamics; you're sometimes unsure who truly has the reins here and who to root for, which only adds to the increasing dread. It covers topics like workplace bullying, misogyny, toxic masculinity, sexual harassment, femininity, power dynamics, and social class. It does so in a way that doesn't feel ham-fisted. Touching on these topics feels organic within the context of the film, and the result is that it's pretty thought-provoking at times in a way that's unexpected for a popcorn flick like this. This is thanks to the good writing; the script is fresh, sharp, funny, unpredictable, thrilling, and unexpectedly twisty. Just when you think you know what's going on and where the film is going, it takes a turn. And this film is really satisfyingly action-packed, and some of the violence depicted is pretty graphic. The tension from the start slowly ratchets more and more, and the resolution feels satisfying, rip-roaring, and explosive. McAdams and O'Brien are both really great here, but it's the former who really carries this film. In a role that could have felt one-dimensional, she brings a great deal of nuance and charm to Linda. To the detriment of the film, Bradley does oftentimes feel like a stereotypical caricature. He's rich, a former frat boy, plays golf, is a jetsetter, and is mean to anyone he deems to be beneath him. This is one aspect of the film that was rather mediocre. The use of CGI was rather distracting at times, too. Both of these points cause the film to feel a tad formulaic and generic, albeit it could be argued that the aforementioned only adds to the pleasant silliness of the film. But on the other hand, the writers chose to make the love interest of this character a black woman. It's not often in mainstream films that you have a wealthy white man with a black trophy wife. While her character is a tad undercooked, mostly due to the focus of the film being placed on the two leads, this was a really refreshing part of the film. Overall, this is a nice comedic horror-thriller. It's fun, funny, sharp, and thrilling. You'll have a good time with this one.

Send Help quickly establishes itself as one of the most compelling and engaging films of the year, especially for viewers who were already intrigued by its intense and mysterious trailer. From the opening moments, the film pulls you into its twisted emotional landscape, blending suspense, dark humor, and psychological tension. It's the kind of movie that demands your attention and rewards you for staying locked in, creating a theatrical experience that feels both immersive and unpredictable. Dylan O'Brien delivers one of his most striking performances to date, stepping far outside his usual heroic or sympathetic roles. Here, he plays a deeply flawed, abrasive, and often infuriating character, and he commits to it fully. His portrayal makes you uncomfortable in the best way, forcing the audience to confront how selfishness, manipulation, and emotional damage ripple outward. Watching O'Brien lean into this darker, more morally questionable role is both surprising and impressive, proving his range as an actor. Rachel McAdams is the true powerhouse of the film. Her performance is fearless, layered, and wildly dynamic. She shifts seamlessly between vulnerability, humor, instability, charm, and outright madness, often within the same scene. McAdams commands the screen every time she appears, reminding audiences why she remains one of the most versatile actresses working today. Her character is messy, unpredictable, and deeply human, making her journey both disturbing and fascinating to watch. The screenplay is energetic and inventive, blending character-driven drama with moments of sharp intensity. While the story is consistently engaging, it does take a bit too long to reach its emotional breaking point. The buildup to Rachel McAdams' character's major shift is stretched slightly thin, which may test some viewers' patience. However, once that turning point arrives, the film erupts into a powerful and relentless second half that more than makes up for the slow burn. Director Sam Raimi brings his signature style to the project, balancing psychological tension with visual flair and emotional weight. His direction keeps the pacing tight, the atmosphere uneasy, and the performances grounded. Raimi knows when to let scenes breathe and when to unleash chaos, resulting in a film that feels carefully constructed rather than chaotic. His ability to blend intensity with character development is one of the movie's strongest assets. Overall, Send Help stands out as one of the most memorable theatrical releases of the year. With outstanding performances from Dylan O'Brien and Rachel McAdams, a bold screenplay, and confident direction from Sam Raimi, the film delivers a gripping and emotionally charged experience. It's intense, unsettling, and deeply engaging from start to finish. This is not a movie to wait for streaming. It deserves to be seen on the big screen, where its full impact can truly be felt.

Overall I found it a cohesive, decent story with the actors doing their best in their roles. It followed some predictable plodding but added a couple of twists. There's gore but not too much. The shift in power dynamic is a little too fast, even with the "time passing" sequence. Sure, she was in what she felt was her element but we didn't know that she had that much real world knowledge of survival since almost everything shown was books. The timing was crisp and there was almost no dragging to it. Things moved along as the story moved along. There was foreshadowing that wasn't very subtle but it's not a subtle movie, not to mention a stretch-disbelief situation. The ending ties things together in a way I really didn't expect and there were enough clues that it didn't come out of nowhere. Was it entertaining? Pretty much. Will I watch it again? No.

Absolutely disgusting-in the best way. Hard to watch at times, genuinely nasty, but clearly meant to push you there. I laughed, I cringed, and there were moments I literally couldn't look at the screen. A very effective dark comedy/horror with actors fully committing, especially Rachel McAdams, who is shockingly good and wildly talented in a role I never imagined her in. Uncomfortable, fun, and memorable.

It's hard to explain why I didn't. There isn't much I disliked. But in most aspects, with most of the stuff it's trying, I found it good but not good enough. The horror elements are solid but don't go far enough to make it memorable. The comedy made me laugh a handful of times but falls flat several others. The story is pretty cool but not enough to elevate the experience from good to great. The only thing that excels is Rachel McAdams, who gives a fantastic performance. Dislikes include the gross-out horror/humor. I don't find gross to be funny or scary. And there are some questionable character decisions that made me ask, "Are you dumb?" and, "Ok, then what next?" I didn't mind watching this as a single-viewing type of movie. But it came close to being something I add to my library and rewatch. (1 viewing, early screening 1/24/2026)