There’s no question that Sam Raimi is one of the greatest and most influential names in modern genre cinema. From his iconic Evil Dead films to his superhero stint in the first Spider-Man trilogy, Raimi’s style seems to adapt beautifully to whatever avenue he takes. Ultimately, his roots lie in the horror genre, and he returns to it with a bang in Send Help (2026), a gnarly and striking survival thriller. Despite its minor faults, Raimi is back at home doing what he does best: Striking visuals, clever character moments, and lots and lots of blood.
Send Help is Raimi’s return to horror for the first time since Drag Me To Hell (2009). A far-too-relatable setup of a mousy accountant (Rachel McAdams) dealing with her misogynistic higher-up (Dylan O’Brien) takes a wild turn when a plane crash strands the two on a deserted island, with tensions rising immediately. When the news of this film first broke, the plot was uninteresting at first glance, as Raimi’s visuals and comedic horror would not typically mesh well with such a bland premise. I was proven wrong by his incredible direction of the two leads, who use their chemistry to repel each other like two negative charges. McAdams tears apart the role of mousy “Strategy and Planning” employee Linda Liddle, and O’Brien exceeds expectations as the stupid, arrogant Bradley.
I cannot begin to discuss how intriguing the character of Linda is, and McAdams’ incredibly compelling performance. Linda is constantly on the verge of snapping before the inciting disaster strikes, an unbridled rage behind her eyes as she grits her teeth and gives her work to her superiors, only to not be recognized for her talent. Linda’s arc sees her blossom into a woman who, quite frankly, takes no shit. In true Raimi fashion, McAdams gets to go absolutely insane in her performance as Linda attempts to survive on the island.
McAdams commits to the insanity, and I never once felt like she was not doing enough with what she had from Raimi and writers Mark Swift and Damian Shannon. She ultimately becomes a stronger, more powerful version of herself while maintaining the values she holds dear, and I found it incredibly poignant, as there are likely many women in the corporate workforce in her position. Linda is a great addition to Raimi’s compendium of lead characters, and I am sure Ash would be lucky to stand beside her.
Opposite is O’Brien, who many will remember from MTV’s Teen Wolf series (2011-2017) and the Maze Runner film series (2013-2018). O’Brien recently branched out in last year’s Twinless (2025) and his minor role in Saturday Night (2024), showcasing a different range. His range continues to shine as the executive Bradley, exploring a far more insufferable character type. I found the change in dynamics between Bradley and Linda to be the most compelling part of Send Help, since Bradley is used to having things handed to him and is reduced to a position of requiring assistance for basic needs. O’Brien captures that shock with an immense childishness that had my audience cracking up as he begs Linda for help.
It’s not a Raimi picture without various scares and bodily fluids, and Send Help delivers gratuitously in both regards. Vomit, snot, and blood fly like butterflies on a summer day as Bradley and Linda butt heads and reconcile rapidly, something sinister lurking underneath the surface for both of them. McAdams and O’Brien relish in the absurdity, taking it all like champs and fully committing to what I call “Raimi-isms”. His films are never meant to be taken completely seriously, and they commit to the artifice of a film’s diegetic world. This includes dream sequences, over-the-top gore, and insane camera angles that stylize the film in such a way that the audience has no choice but to accept it.
As much as this film deserves its flowers, it is not without its problems. The film is a whopping 113 minutes. Because the runtime is so long, we see a handful of unnecessary scenes that puzzle me as to why they were necessary. Multiple instances that get the same point across bloat the runtime and had me checking my watch once or twice to see how much time was left. My enjoyment of the film was not significantly impeded by these lulls, but a tighter runtime would benefit this insane experience.
Send Help may have helped break the curse of January being a dumping ground for awful post-awards season films. Raimi’s return to horror for the first time in 17 years is one that demands attention from seasoned fans and newcomers. Despite my minor qualms with the pacing and runtime, I had a blast watching this rollercoaster of a film, and I am glad that the king is back doing what he does best.
Review Courtesy of Nadia Arain
Feature Image Credit to 20th Century Studios via The Hollywood Reporter