Director Sam Raimi built his reputation on films that blend horror, humor and over-the-top chaos. From cult classics such as The Evil Dead to the dark fantasy horror of Drag Me to Hell, Raimi rarely sticks to one tone for long. His newest film, “Send Help,” follows that same pattern. The movie mixes survival drama, dark comedy and horror while exploring power dynamics in the workplace. While the film contains several entertaining moments and strong performances, it sometimes struggles to settle in a clear direction.
The story centers on Linda Liddle, played by Rachel McAdams, an awkward but highly capable corporate strategist who constantly feels overlooked at her company. Her boss Bradley Preston, played by Dylan O’Brien, represents everything frustrating about corporate hierarchy. Bradley is arrogant, entitled and clearly comfortable holding power over the employees beneath him.
When Bradley invites Linda to accompany him on a business trip to Thailand aboard his private jet, she views the opportunity as a potential turning point in her career. Instead, the trip takes a disastrous turn. A violent storm causes the plane to crash, leaving Linda and Bradley as the only survivors stranded on a remote island far from civilization.
At first, the movie presents itself as a straightforward survival story. Linda and Bradley must figure out how to find sustenance and build some form of shelter while they wait for rescue. However, isolation quickly changes the relationship between the two characters. The authority Bradley once held in the corporate world disappears the moment they arrive on the island. Titles, promotions and office politics suddenly mean very little.
Linda, who spent most of her career being underestimated, proves far more capable when it comes to surviving in the wilderness. As the film progresses, the balance of power between the two characters slowly shifts. Bradley begins to rely on the same employee he previously dismissed, creating a tense dynamic that becomes the driving force of the story.
Much of the film’s tension comes from watching that power shift unfold. McAdams brings a layered performance to Linda, portraying her as both vulnerable and quietly frustrated. Her character gradually grows more confident as she realizes she is no longer stuck under Bradley’s authority. O’Brien, on the other hand, leans fully into Bradley’s personality as an overly confident executive who struggles to accept that he is no longer in control. The two actors play off each other well, and their uneasy partnership keeps the story engaging.
Where the film becomes more complicated is in the way it handles tone. Raimi clearly draws from several different genres throughout the movie. Some scenes lean heavily into survival horror, particularly when the characters face injuries, hunting attempts or other brutal moments that emphasize the dangers of their environment. These moments sometimes include the exaggerated gore and physical humor that Raimi is known for.
At other points, the movie shifts into dark comedy. Bradley repeatedly tries to reassert the authority he once held in the workplace, even though his corporate status no longer carries any weight. Watching him attempt to give orders in a situation where he has very little control creates several awkward and occasionally funny moments.
The story also introduces psychological elements as Linda’s resentment toward Bradley begins to surface. Being stranded together forces both characters to confront the tension that existed between them long before the plane crashed. Their struggle for control becomes just as important as their efforts to survive.
Each of these ideas works well on its own, but the movie often moves between them without fully committing to one direction. The shifts between horror, satire and psychological drama sometimes make the story feel slightly unfocused. Instead of developing one clear tone, the film moves back and forth between several different styles.
The overall narrative also follows a fairly familiar structure. At its core, “Send Help” resembles a classic underdog story. Linda begins the film as an overlooked employee working under a boss who constantly dismisses her contributions. Over time, the situation changes, and she finds herself in a position where she finally holds the advantage.
This type of character arc has appeared in many workplace dramas and revenge stories before. The deserted island setting adds an interesting twist, but the central idea of an undervalued employee gaining power over a toxic boss remains recognizable.
That familiarity does not necessarily hurt the film, though. The performances from McAdams and O’Brien help keep the story engaging even when the plot moves in somewhat predictable directions. Their shifting relationship remains the strongest part of the movie, especially as the balance of power continues to evolve.
By the time the film reaches its conclusion, “Send Help” leaves a somewhat mixed impression. The movie contains several strong elements, including memorable performances, moments of dark humor and glimpses of Raimi’s signature visual style. However, the story never fully settles into a clear identity.
Rather than choosing between horror, satire or psychological drama, the film continues moving between all three. As a result, it gives off multiple ideas competing for attention rather than a single focused narrative.
Even so, the film remains an interesting watch. “Send Help” presents an entertaining premise and a pair of strong central performances that carry the story through its uneven moments. While it may not fully commit to one direction, it still offers an engaging look at how power, resentment and survival can reshape a relationship when two people are forced into the same impossible situation.
