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.