Promotional materials for Sam Raimi's latest film, Send Help, boldly promise audiences a horror experience, but this categorisation proves misleading upon viewing. Starring Rachel McAdams and Dylan O'Brien, the movie initially presents as a sharp black comedy with satirical edges, only to devolve into a series of unconvincing, gore-laden flourishes that ultimately frustrate rather than frighten.
A Promising Premise Undermined by Genre Confusion
Scripted by Damian Shannon and Mark Swift, Send Help follows two plane-crash survivors stranded on a remote desert island. Rachel McAdams portrays Linda Liddle, a brilliant but overlooked corporate researcher, while Dylan O'Brien plays Bradley Preston, her arrogant, nepotistic CEO. The setup cleverly inverts their office power dynamic when the crash leaves Linda's survival skills as their only hope.
Strong Performances Amidst Narrative Stumbles
McAdams delivers a solid performance as the capable, undervalued Linda, bringing depth to her character's resilience. O'Brien effectively embodies the entitled alpha-idiot Bradley, whose cluelessness provides early comedic moments. Their dynamic drives the film's first act, which works as a watchable, modern parable reminiscent of survival dramas.
However, the plot soon falters. Derivative twists and inconsistent characterisation emerge, particularly when Raimi injects sudden, spurious horror elements. These gore eruptions feel tacked-on, designed more to appease a specific fanbase than to serve the story, undermining the film's initial believability and descending into exasperating silliness.
From Satire to Unconvincing Violence
The film's shrewd satire of corporate misogyny and office politics gives way to weird, grisly stabs that lack narrative cohesion. What begins as an entertaining black comedy becomes muddled by horror flourishes that aren't genuinely scary, leaving audiences questioning the film's true identity. Is it a desert-island survival tale, a workplace satire, or a horror-comedy hybrid? Send Help struggles to commit fully to any one genre.
By the final act, the promising setup feels wasted, though McAdams' performance remains a highlight. The film's release dates are set for 29 January in Australia, 30 January in the US, and 6 February in the UK, offering audiences a chance to judge this tonally inconsistent effort for themselves.
