'Send Help' Review: A Gnarly Return To Form For Raimi
After two decades, Sam Raimi finally returns with another r-rated feature in ‘Send Help’, a gnarly, ferocious return to form that will remind audiences what a wildly fun and singular filmmaker he is.
Send Help centers on an employee (Rachel McAdams) and her cruel, insufferable boss (Dylan O’Brien) who become stranded on a deserted island after a plane crash. After washing up on the beach, the two of them must try to put their differences aside in order to work together in order to survive. However, that’s easier said than done when the power dynamic shifts and each of them must adapt for better or worse. On paper, this is a film that in the wrong hands could easily go off the rails ending in disaster, but in the assured hands of director Sam Raimi, this survival film delivers one of the most consistently entertaining films audiences will see all year.
The film is essentially a two-hander with O’Brien and McAdams carrying the film on their shoulders. Fortunately, Raimi picked the two perfect performers for this zany tale and each of them dials their performances to the material perfectly. O’Brien plays the self righteous and entitled boss character to perfection, imbuing Bradley with nearly every unlikable characteristic one could manage including a laugh that truly needs to be heard to be fully believed. However, even despite his many shortcomings as a character, O’Brien is able to splice in enough humanity and suffering that makes the audience feel for him throughout, a minor miracle that he pulls off effortlessly.
However, this is clearly McAdams’ film because she nearly walks away with it. The talented actress has certainly showcased an impressive versatility over the years, vacillating between genres with grace and precision, but nothing can prepare viewers for the type of performance she delivers here. She’s equal parts charming, endearing, terrifying, malicious, hilarious, and disturbing here, playing the different notes of Linda like a seasoned pianist. She’s constantly unpredictable and magnetic, not only keeping Bradley on his toes, but the audience on theirs as well. Simply put, she’s never delivered a performance quite like this one and it’s remarkable. Both her and O’Brien’s deeply committed performances and their electric chemistry are crucial to the film’s overall success.
Not only are there two great central performances, but the direction from Raimi is sublime. After being shackled and restrained by Marvel in Doctor Strange In The Multiverse of Madness, Raimi is truly off the leash here and it couldn’t be more welcomed. His classic camerawork and framing is on full display, complimenting the story and Bill Pope’s solid cinematography perfectly. His handle on tone remains untouched or dampened, allowing the film to become a combination of drama, horror, comedy, and thrills in only the way he can deliver. In another director’s hands, this film could be a complete tonal misfire, but leave it to Raimi to be able to deliver a truly effective jump scare one second and a belly laugh the next.
The script by Damian Shannon and Mark Swift is also a winner, remaining sharp, funny, and surprising throughout. This is a survival film that constantly plays with the viewer’s expectations and goes to places that are truly unpredictable. The way their script effectively builds toward the slow, gradual change in the power dynamic between Linda and Bradley is terrific, the latter agonizingly coming to terms with the fact that he needs to rely on the former in order to survive and possibly make it off the island. As a result, this power shift doesn’t feel rushed and also fleshes out their respective characters in the process.
There are only two minor flaws holding this thriller back from being true perfection. Firstly, while the film’s pacing is mostly breezy and brisk, the last act feels a smidge too long, causing the film to overstay its welcome. The resolution of the story is also fairly predictable, unlike the the first two acts that came before it, which was a little bit disappointing. Considering how ferocious those first two acts were, it felt as if the climax was a little safe by Raimi’s standards despite his signature flair.
Send Help is a breath of fresh air, taking an inspired spin on the survival film concept and delivering a hugely entertaining crowd-pleaser that audiences should eat it up and leave wanting more. Raimi’s trademark style and panache, coupled with the two dynamite central performances, make this hybrid of Cast Away and Misery the kind of film that yearns to be seen in theaters with a big crowd. If this film showcases anything, it’s that Raimi is an animal that isn’t meant to be domesticated, but allowed to always roam wild and free.