Movies
REVIEW: Send Help
Mark Swift and Damian Shannon have one of the more curious filmographies in modern genre filmmaking. Going from Freddy vs. Jason to Shark Tale, then circling back years later to write the Friday the 13th remake, followed by Baywatch, and now—nearly a decade after that—returning with this project, their career path feels anything but linear. If there’s a common thread, it’s a clear fondness for horror (particularly slashers) and, oddly enough, the sea. Which is ironic, considering Jason Voorhees’ famously complicated relationship with water. Still, after more than two decades, Swift and Shannon finally merge those two interests into a survival thriller that feels like a long time coming. There were even longstanding rumors about their desire to unite Freddy, Jason, and Ash in a single crossover, so having this film directed by Sam Raimi feels like a strange but fitting twist of fate.
While the 2009 Friday the 13th has its defenders—and Freddy vs. Jason remains a cult favorite—it’s fair to say Send Help is the duo’s strongest script to date. It doesn’t reinvent the genre, sticking closely to familiar conventions, but there’s enough substance here to keep things engaging. The story offers a few solid twists and turns that make for a fun watch, even if certain beats grow repetitive. Some of the red herrings are admittedly easy to spot, but there’s still a certain satisfaction in seeing those predictions pay off.
Of course, none of that would matter without a director capable of elevating the material, and thankfully Sam Raimi is more than up to the task. While the film doesn’t unleash Raimi at full throttle—and fans hoping for wall-to-wall Raimi-isms may find themselves wanting more—there’s still plenty to enjoy. Slapstick-inflected jump scares, strange camera angles, uncomfortable close-ups, crash zooms, eye-gouging, grotesque physical comedy, and an especially gnarly animal encounter all bear his unmistakable touch. Raimi understands how to wring suspense and thrills from a familiar setup, injecting just enough personality to turn a standard survival thriller into something genuinely entertaining.
The performances are another key factor, and both leads rise to the occasion. Dylan plays the misogynistic new boss with just the right balance of arrogance and vulnerability. He’s deeply unlikable, but not irredeemable, which becomes crucial once the power dynamics shift and he finds himself in the role of victim. The film makes a brief attempt to humanize him, and while it only partially succeeds, it’s enough to complicate the audience’s response.
Then there’s Rachel McAdams, who delivers what may very well be one of the best performances of her career. She doesn’t just play Linda—she becomes her. When the character is required to be socially awkward, deeply insecure, and constantly fumbling, McAdams commits fully, going far beyond surface-level “ugly” makeup. The transformation is entirely performance-driven. Over the course of the film, your feelings toward her shift repeatedly: sympathy gives way to admiration, then eventually to unease and outright fear as she becomes increasingly unhinged. Somewhere around the second act, the comparison clicked—this is essentially Annie Wilkes stranded on an island.
Danny Elfman’s score adds another layer, oscillating between eerie choral elements and bombastic flourishes that mirror Linda’s deteriorating psyche. The music doesn’t just underscore the film’s thriller elements; it actively warns the audience, positioning Linda herself as the looming horror. Bill Pope’s cinematography does solid work capturing the island’s natural beauty, particularly during the forest chases, though it’s far from his most visually ambitious effort. The CGI is uneven—occasionally distracting—but in certain moments, its roughness almost complements Raimi’s heightened, pulpy sensibility.
In the end, this is a film that exceeded my tempered expectations. It may not deliver the full Raimi experience fans might crave, but a sturdy script, sharp direction, and a truly standout lead performance make it a thoroughly enjoyable ride. For a project I approached with hesitation, it ultimately proved to be a very good time.
Movies
Jason Momoa to Star in Sony’s ‘Helldivers’ Movie, Justin Lin Directing
Jason Momoa is heading to the front lines.
The actor has signed on to star in Sony Pictures’ feature adaptation of Helldivers, the hit video game franchise from Arrowhead Game Studios. Justin Lin is set to direct the project, which hails from PlayStation Productions and is slated for a theatrical release on Nov. 10, 2027.
Launched in 2015, the original Helldivers built a devoted following, but it was 2024’s Helldivers 2 that became a breakout phenomenon. The sequel sold more than 12 million units across PlayStation 5 and PC within its first four months and has continued to expand its footprint, recently launching on Xbox. The game’s narrative centers on an elite military unit known as the Helldivers, tasked with defending the fictional Super Earth from deadly alien threats in a satirical, high-intensity sci-fi war.
Hutch Parker is producing alongside PlayStation Productions head Asad Qizilbash, with Lin producing through his Perfect Storm Entertainment banner.
The project adds to an already packed slate for Momoa, who remains one of Hollywood’s most in-demand action stars. He will next portray intergalactic bounty hunter Lobo in Supergirl: Woman of Tomorrow, set for release June 26. He currently stars opposite Dave Bautista in Amazon MGM Studios’ The Wrecking Crew for Prime Video and will appear alongside Ryan Reynolds in Warner Bros. and Legendary’s hybrid animated feature Animal Friends, debuting May 1.
Momoa is also set to take on the role of Blanka in Legendary and Paramount’s Street Fighter, scheduled for Oct. 16, and will reprise Duncan Idaho in Dune: Part Three, due Dec. 18 from Warner Bros. and Legendary.
The actor previously anchored Warner Bros.’ DC franchise as Aquaman in two films directed by James Wan and appeared as the villain Dante in Fast X, which Lin wrote and produced. Among his recent credits is Warner Bros. and Legendary’s A Minecraft Movie, which approached $1 billion at the global box office, as well as HBO’s Game of Thrones, where he broke out as Khal Drogo. Most recently, Momoa starred in and co-created Apple TV+’s limited series Chief of War.
Movies
James Van Der Beek, ‘Dawson’s Creek’ Star, Dies at 48
James Van Der Beek, the actor who became a defining face of late-’90s teen television as earnest aspiring filmmaker Dawson Leery on The WB’s Dawson’s Creek, died Wednesday following a prolonged battle with colorectal cancer. He was 48. His family confirmed the news on social media.
Van Der Beek publicly disclosed his diagnosis in November 2024. In a statement posted to Instagram, his family wrote, “Our beloved James David Van Der Beek passed peacefully this morning. He met his final days with courage, faith, and grace. There is much to share regarding his wishes, love for humanity and the sacredness of time. Those days will come. For now we ask for peaceful privacy as we grieve our loving husband, father, son, brother, and friend.”
In the months after revealing his illness, the actor auctioned memorabilia from Dawson’s Creek and Varsity Blues to help offset treatment costs. He also withdrew from a one-night Dawson’s Creek reunion benefiting F Cancer; Lin-Manuel Miranda stepped in for the live stage reading of the pilot. Van Der Beek had recently been cast in a recurring role as a mayoral candidate in Prime Video’s upcoming Legally Blonde prequel series, Elle.
Born March 8, 1977, in Cheshire, Connecticut, Van Der Beek began his professional acting career at 16, appearing off-Broadway in Edward Albee’s Finding the Sun, directed by Albee. Though he would become synonymous with television, he often described himself as “a theater kid” at heart.
That changed in 1997 when he was cast in Dawson’s Creek, Kevin Williamson’s coming-of-age drama that premiered in January 1998 to record ratings for The WB. The series, which also launched the careers of Katie Holmes, Joshua Jackson and Michelle Williams, became a cultural touchstone, dominating among teenage viewers and running for six seasons through 2003. It later found new life on streaming, introducing Van Der Beek’s performance to another generation.
As his television fame grew, Van Der Beek headlined the 1999 high school football drama Varsity Blues and later starred in the Bret Easton Ellis adaptation The Rules of Attraction (2002). Though neither film was a blockbuster on release, both became emblematic of the era and earned enduring cult followings.
His later work included a starring role opposite Patricia Arquette on CBS’ CSI: Cyber and a self-aware turn playing a heightened version of himself on ABC’s Don’t Trust the B—- in Apartment 23. He also voiced a lead role on Disney Channel’s animated series Vampirina and appeared on shows ranging from One Tree Hill to Modern Family and Law & Order: SVU.
Van Der Beek is survived by his wife of more than 25 years, Kimberly, and their six children — four daughters and two sons. A GoFundMe page has been established to assist his family with living expenses.
Movies
Franz Rogowski and Benedict Wong Join A24’s The Masque of the Red Death
Franz Rogowski and Benedict Wong are boarding A24’s The Masque of the Red Death, joining previously announced stars Mikey Madison and Léa Seydoux in Charlie Polinger’s revisionist take on the Edgar Allan Poe classic.
Rogowski (Passages) and Wong (Weapons) have closed deals for the feature, which Polinger will direct from his own screenplay. The project is described as a wildly reimagined and darkly comedic interpretation of Poe’s 1842 short story. Specific character details are being kept under wraps.
In Poe’s original tale, Prince Prospero retreats with a circle of aristocrats to a fortified abbey as a devastating plague sweeps the land. Sealed off from the suffering outside, the nobles attempt to outlast the contagion by hosting a lavish masquerade ball. As the festivities unfold, a mysterious and ominous figure infiltrates the celebration, forcing the revelers to confront the inescapable reality they believed they had successfully walled off.
Polinger, a DGA Award winner, is expected to bring a contemporary lens to the material, blending horror and satire in a manner that aligns with A24’s penchant for auteur-driven genre fare.
Julia Hammer and Erik Feig are producing for Picturestart, alongside James Presson and Lucy McKendrick. Polinger will executive produce. A24 is set to distribute the film worldwide.
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