SEND HELP -- Sam Raimi’s Direction Makes Up for a Weak Script

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.

Rating: 2.5/5