“Send Help;” A Chaotic, Campy Experience from the Mind of Sam Raimi

An in-depth review of the latest film from director Sam Raimi, taking a deep dive into this confined, zany horror comedy and defining it to be a hit or miss of a January release. Photo courtesy of Dr. James P. McVey via Wiki Commons

The final weekend of January lent two feature-length horror releases to close out the month. One was the widely acclaimed “Iron Lung,” and the second marked Sam Raimi’s return to the director’s chair in the form of “Send Help.”

With Raimi at the helm, “Send Help” focuses on the two central characters: Rachel McAdams as Linda, an office employee, and Dylan O’Brien as Bradley, Linda’s self-centered and imperious boss. After both are caught in a plane crash and stranded on a deserted island, they are forced to survive their situation while their tense rivalry remains.

The months of January and February have long been known as the dumping grounds for low-quality, poorly marketed horror films receiving feature-length releases to snag a few more tickets. While this pattern has become widely acknowledged by moviegoers and critics alike, outliers have emerged during this time of the year that stand out from the spoiled ones. 

To pleasant surprise, “Send Help” poses as one of those outlier films, with Raimi delivering a surprising experience of comedic insanity that will leave audiences entertained from start to finish.

To get the ball rolling, despite a long passage of time since his last film, Raimi can spill his original, personalized style all throughout the film’s direction and tone. Whether it be the shot selection for certain sequences or obtaining the perfect balance of campy, self-aware humor and unpredictability, it all calls back to Raimi’s individual style that many people have come to celebrate.

There is one stand-out scene where the film encapsulates this balance of dark humor and serious discomfort, creeping under the audience’s skin while leaving them with no other thought but to laugh in reaction.

The relationship between McAdams and O’Brien serves as the heart and soul behind the film. Both respective actors excel through their performances, helping to elevate the rather simplistic, bare bones plot into a stronger narrative. 

In correlation with the narrative’s unpredictable tone, the audience is left to wonder whether the tension between the two rises with each moment or if they are coming along to respect each other.

McAdams as Linda serves as the protagonist, following her journey from an unattractive, estranged employee to a lively, self-confident person through her survival and perseverance. She succeeds in portraying gradual character growth, leaving the audience engaged with her as the central focus while coming to root for her until the end.

On the flip side, O’Brien, as Bradley is portrayed as the antagonist, establishes himself as the stereotypical CEO, relishing in his wealth while speaking down to those below him. Through his layered performance of arrogance and condescension, it makes it all the more satisfying when his authority is ultimately challenged by Linda, resulting in a strong conflict between the two.

Complimenting the film is a unique, unnerving soundtrack composed by the iconic Danny Elfman. While different in comparison to most of his recognized film scores of the past, the score amplifies the overwhelming thriller and horror elements of the narrative, helping immerse the audience a step further.

The chemistry of the two main characters, along with the balanced tone, helps to progress the film; yet, there are a few slight bumps within the story that may weaken the experience for many.

While the film delivers in the simplicity of its plot, the story itself does suffer from a lack of nuance or deeper meaning as a result of its one-note premise. With the twists and reveals that are incorporated into the third act, it all feels dead on arrival while adding nothing noteworthy to the narrative. It leaves a little more to be desired past the film’s surface-level entertainment.

For the other notable critique, some scenes utilize C.G.I. to bring its more ludicrous scenes to life. While there are far and few moments of C.G.I. utilized throughout the runtime as a whole, the areas where it appears crystal clear can be a slight distraction and take the audience out of the film for a moment.

As the island settles on one of January’s final feature-length releases, “Send Help” stands as a chaotic and amusing adventure that acknowledges its over-the-top style and fully embraces it. 

Raimi makes a return to filmmaking on a surprising high note, staying true to his style of directing while delivering an exciting experience for audiences. “Send Help” is a must-see during the coming weeks and will leave many satisfied upon leaving the theater.