Review by Steve Barton II

Review by Chadd Clubine

The idea of Dave Bautista and Jason Momoa starring together has always felt like a no-brainer. Pairings like this can sometimes signal a film leaning too heavily on star power alone, but The Wrecking Crew avoids that trap. Instead, it delivers an entertaining ride packed with surprising twists and well-staged action set pieces. When you think of great ’90s’ throwbacks, this is exactly the kind of film that comes to mind. It fully commits to its tone, letting Bautista and Momoa play off each other with both humor and heart. This is how you bring back ’90s action.

At just over two hours, the runtime is certainly noticeable, as the film clearly aims for an epic scale. Interestingly, The Batman director Matt Reeves is credited as a producer, and it shows in the film’s ambition. This is the kind of movie that would play well in theaters and likely be a solid box-office draw. It’s another strong example of why streaming-made films deserve a real fighting chance on the big screen. Watching it at home creates a different effect—some story beats feel stretched, and the action set pieces can feel over-the-top at times. If you look past that, it’s clear the director and its two leads were committed to making something memorable.
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Given the context of its story, the premise is fairly basic: two estranged half-brothers reunite after their father’s death to track down his killer. On paper, it’s easy to predict how the rest of the film will unfold, but what ultimately works is how intentional everything feels. The camera work during the action sequences often plays like a homage, elevated by striking cinematography and sharp, effective editing. Whenever the film leans into action, it delivers.

As for the two leads, they fit their roles naturally and deliver strong performances. Bautista is more reserved, while Momoa brings an outgoing energy that aligns perfectly with their respective filmographies. Reversing those roles simply wouldn’t have worked. Together, they convincingly convey that these characters are brothers, not just in appearance but in how they interact. At its core, the film carries a heartfelt message for estranged families: it’s never too late to show up for one another.

The film spends considerable time away from its two leads, which may be one of its biggest weaknesses. As mentioned, the runtime already stretches past two hours, and trimming even twenty minutes could have greatly improved the pacing while leaning more into its strengths, namely the chemistry between its actors and its brutal action. The film’s R-rated violence is surprisingly intense, adding an extra edge that makes it even more unexpected.
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The dialogue can also be one of the film’s weaker elements. Unlike another action release this weekend, Shelter, this film demonstrates how strong direction and committed performances can elevate an underwhelming script. The actors may not be family in real life, but the sincerity of their emotional performances makes the relationship feel genuine. The supporting cast also embraces the film’s tone, helping to ground the story and making the overall experience more entertaining and believable.
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While it may have benefited from a theatrical release, The Wrecking Crew remains an entertaining watch, buoyed by its two leads and its action sequences. It never takes itself too seriously, yet it knows when to treat the heavier aspects of its family dynamic with care. The film runs longer than necessary, and the dialogue can feel repetitive, but it still succeeds at what it sets out to do: entertain.

Review by Daniel Lima

For the Ric Roman Waugh defender, this is par the course. All his films tend to take on this dreary affect, reflected not only through narrative, dialogue, and visual aesthetic, but how any given scene moves. This one is no different, replete with agonizingly long silences, shot-reverse shots of people looking very seriously at each other, characters repeating actions and lines in a way that seems calculated to artificially inflate the runtime. In a roundabout way, this muted approach almost achieves the same kind of delayed gratification one gets when watching Jeanne Dielman; even the lamest half-quip out of Statham is like a shot of adrenaline straight to the heart, every bit exciting as a middle-aged woman that forgets to do a household chore.

The problem is the bones of Shelter lack the nuances and thematic richness of a Jeanne Dielman, or a Heat, or even a The Beekeeper. This film is structured like any number of generic, skull-brained action-thrillers about gruff, shadowy men who learn to open their hearts to some innocent soul. The dialogue is filled with nothing but cliches, particularly in the scenes away from Statham, which seem to only be there out of obligation to what is expect of these kinds of stories. The deepening relationship between Statham and his young charge is an informed trait, as they two lack any chemistry and the film skips over any emotional intimacy the two share before the bullets start flying.

None of this is an issue in a lean, muscular action B-movie, the kind that Statham can elevate even when everyone else is asleep at the wheel. When a film begs to be taken as seriously as this one, however, it is impossible to reconcile the stupidity of these individual elements with the attempt at dramatic gravity. The latter undermines the former, and the former sucks all the charming camp of the latter. The end result is a grueling, taxing chimeric beast, satisfying to neither the audience looking for a meat-and-potatoes slugfest nor someone looking for more elevated fare.

I’d like to say that Waugh still has a great film in him. Even within this rather poor outing, I can see an artist attempting to do something novel, just with material that is ill-suited for the experiment. After enduring the likes of Shelter, however, I am walking into the next attempt with great trepidation. 

Shelter releases in theaters January 30.

Rating: 1.5/5

Review by Adam Donato

Review by Chadd Clubine

Viewers will likely find Send Help a solid time at the movies, particularly in the typically quiet month of January. Longtime fans of Raimi’s work will appreciate that, even after 50 years in the business, he hasn’t lost his touch. The film strikes a workable balance between thrills and humor, delivering moments that feel worth the price of admission. Unfortunately, Raimi’s energetic direction can only do so much to compensate for a weak story and uneven pacing. Just when the film leans into what makes it fun, it retreats into its lesser elements, ultimately resulting in an underwhelming and mildly disappointing experience.

After collaborating on Doctor Strange in the Multiverse of Madness, it’s easy to see why Raimi and Rachel McAdams were eager to reunite. Send Help gives McAdams far more to do, allowing her to fully engage with the material. The film’s overall production reflects a filmmaker with decades of experience behind the camera, as Raimi crafts several genuinely terrifying sequences that tap into what made The Evil Dead franchise such a horror staple. While the film often plays it safe by revisiting familiar Raimi territory, there’s no denying that he still has the creative spark—and the cinematic muscle—of a seasoned filmmaker.
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Rachel McAdams and Dylan O’Brien both deliver commendable performances, with their apparent enthusiasm for working with Raimi shining through as they fully commit to their roles. McAdams makes her character easy to sympathize with, while O’Brien proves just as effective at making his character deeply unlikable. Both actors do their best with a script riddled with plot holes and convenient storytelling. McAdams’ character, in particular, seems to have everything inexplicably figured out—from survival tactics to conveniently available appliances—requiring a considerable suspension of disbelief for the scenario to feel plausible. Meanwhile, O’Brien’s character shows little meaningful growth; just as it appears he may be evolving, he predictably reverts to old habits, a narrative loop the film relies on far too often.

At nearly two hours, the film struggles with pacing, as its intriguing premise never quite justifies the extended runtime. Dream sequences, repetitive moments, and underdeveloped subplots weigh the story down, making it feel longer than it needs to be. Trimming even 20 minutes could have produced a more tonally consistent experience—one that fully leans into its strengths, namely Raimi’s confident direction and the standout performances from McAdams and O’Brien. Even Dennis Haysbert’s role has little impact on the overall narrative.

Beyond the performances, Raimi’s direction stands out most in the film’s dynamic camerawork and editing. The camera often functions as a character in its own right, capturing key details and framing moments from inventive, offbeat perspectives. Transitions between scenes are handled with a sharp comedic sensibility, enhancing both the humor and momentum. The third act, in particular, features some of the film’s strongest editing, serving as a clear reminder of why Raimi remains one of the industry’s most respected filmmakers—and why his work continues to inspire such a devoted fanbase.
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Send Help contains many of the key ingredients Raimi fans will appreciate and given how long it’s been since he’s made a film in this vein, it carries added weight as a potential box-office and critical success. Rachel McAdams and Dylan O’Brien showcase their versatility, with natural chemistry that elevates the material. Unfortunately, the script undermines these strengths with repetitive narrative choices that only make the film feel longer than necessary. Several subplots are introduced purely to manufacture twists, often without clear logic, leaving only one that truly lands. If viewers can look past the weak writing and uneven pacing, there’s still plenty to enjoy—but without Raimi’s name and direction attached, the film would struggle to stand on its own.

Send Help is in theaters January 30.