User Reviews

Great premise, that goes right off the rails into some cocaine bear Sharknado crap.. how do you take a great idea and just **** all over it... ?

Amazing, hilarious , fun film. Story, script, production and the cast. All actors were perfect. RM stole the show, she is incredible talent, absolutely Oscar worthy in this role. Highly recommended.

The final result is kind of underwhelming and predictable considering the great premise of the movie, but the two protagonists being so well written and portrayed by Rachel McAdams and Dylan O'brien and Sam Raimi's great directing make Send Help a rather enjoyable flick nonetheless.

The first half is a 7,5 of 10. But the End is bad. The main character is good played but absolutly horrible stupid

[SPOILER ALERT: This review contains spoilers.]

And extremely predictable, boring film with an incredibly dumb ending. If you wanna see good horror from 2026, watch We Bury the Dead, 28 Years Later: The Bone Temple, and/or Obsession.

I do not understand the positive reviews. McAdams is fine for what she has to work with, but there are some fundamental problems with the morality of this script. Maybe it's a sign of our times where retribution seems commonplace and righteous. Besides this, I think there should be a disclaimer somewhere for the simplistic misinformation about survival, and in particular, poisonous plants. I'd hate to think that someone would heed this advice if faced with a survival situation. I know that some of this was intended to be humorous, but *really*.

[SPOILER ALERT: This review contains spoilers.]

GREAT MOVIE !!!! .

If one views *Send Help* as a satire—one that begins by poking fun at male dominance in the modern office world, then veers into a survival adventure with horror elements, and finally concludes with an ending straight out of a Barbie movie—then it is certainly a success. However, the characterization (superbly portrayed by Rachel McAdams) at the beginning of the film feels highly artificial and contrived—designed merely to fit into the story somehow. Some scenes (the cliff face, the wild boar) appear heavily staged and unconvincing, almost as if they were lifted from a 1970s film. The story itself has been told many times before—and, for those who value a solid survival thriller, it has been told far better than in Sam Raimi’s latest film.

I felt this movie started out fairly strongly. It had some modern tropes and misandry that I was willing to over-look for the solid enough performances and quirky tone. It also seemed that the script was attempting to soften it's bigotry, if subtly - so I watched it through. . . Boy oh boy was that a mistake. It ends in an orgy of inverted morals for the modern audience. If you feel like you need a bit of, "take what's yours, don't let the patriarchy hold you down, murder is good if it's in the name of Omni-cause", then this was made for you. I hope you enjoy it, though it makes me sorry for you.

Painfully overrated. It runs a good half-hour too long, follows a pretty generic formulaic plot, and relies solely on the cringey performances of McAdams and O'Brien to carry it. Pass hard on this one.

Im sorry, but this is one of the worst movies i have ever seen in my life. Cringe dialogues and tropes everywhere. Especially that very weird humour, which some may like, but its just completely awful. And she, Misses Bookworm, is secretly Batman in the jungle, she can do it all. The guy is also pure horror, all those clichees in nearly every scene. Couldnt watch it till the end, its just horrible, but not in a good way.

Despite the decent acting, and a truly stellar start... this movie falls off so badly. Rachel McAdams is a joy to watch as I have just melted over her from The Notebook, The Hot Chick, and so many others. Just a beautiful woman and excellent actress... But this movie just disappoints. The WRITING* is what falls short. You can see that they were going for the shock factor that better movies and writers deliver (TWD, OITNB). Without giving away spoilers, I wish they would have taken a better direction in this one. I see why this one went straight to streaming....

[SPOILER ALERT: This review contains spoilers.]

A surprisingly tense ride that keeps you engaged from start to finish. What really works here is the pacing, it builds pressure nicely without dragging, and there’s always something pulling you forward. Even when the story gets a bit wild, it stays fun and watchable, which is exactly what you want from this kind of movie. Not perfect, but definitely entertaining and easy to enjoy.

Sam Raimi turns a very predictable story into an entertaining two-hour flick. He injects many of his signature quirks such as the dark comedy, visceral horror, gruesome gore, and a kinetic filmmaking style which elevate the film.Rachel McAdams delivers a terrific, layered performance as the lead. She begins as someone awkward and cringy but gradually evolving into someone genuinely menacing and unhinged. The highlight of the film is the tension between her character and Dylan O’Brien’s.Despite all this, the film feels somewhat tame and isn’t among Raimi’s most memorable works. Still, it’s enjoyable enough that you’ll leave feeling you had a good time.

This film has it all for me. Sam Rami unleashed, Rachel McAdams is at the the top of her game and Dylan O’Brien has always been a fav of mine. Theres surprises, twists and gore. Imagine Regina George from Mean Girls 20 years after high school. Bonus points for Dylans juicy butt

Wildly entertaining role reversal movie. Every single scene was inventive and perfectly crafted. Signature shots abound with extreme close-ups, gross out sight gags and surprising twists around every corner. One of the most satisfying narrative arcs I've ever had the pleasure of watching. An instant classic and arguably Sam Raimi's best movie ever.

I was cackling throughout this movie. Some scenes were pretty gruesome and hard to watch. There’s an homage to triangle of sadness in this story which makes you question who to root for by the end.

It was painful to watch from start to finish. Horrible characters, unbearable cringe throughout the whole movie.

Bridget Jones meets Castaway meets Lord of the Flies. I'm baffled by the generous reviews for this movie. The unoriginal, predictable plot with more holes than Swiss cheese and ridiculous characters that completely loses the run of it itself by the end and just decided to wrap it up quickly. I guess it does appeal to the "girl power" brigade so the generous reviews are perhaps unstandable. Women strong rawrrrr.

Send Help (2026) Dark Comedy to the Best (12,382 – 09 Apr 2026 – Claudio Carvalho) The scruffy Linda Liddle (Rachel McAdams) is a lonely woman, who lives with her bird Sweety and workaholic. The president of the company promises Linda to promote her to VP of Strategy and Planning. However, he dies and his spoiled son Bradley Preston (Dylan O'Brien) hates Linda’s appearance and promotes his friend Donovan (Xavier Samuel) instead. He invites Linda to travel to Bangkok to get rid of her in the office. There is a breakdown in the airplane that crashes on the sea and only Linda and Bradley survive. She saves him since she is specialist in survival, and they have many frictions on the island, and Bradley depends on her. Out of the blue, his fiancée Zuri (Edyll Ismail) appears in the island with a boatman to rescue them. Linda sees her plan dissolved. “Send Help” (2026) is a dark comedy to the best by Sam Raimi. Rachel McAdams and Dylan O'Brien are hilarious with their betrayals and stranded on an island. Both are also obnoxious, Bradley is arrogant and the conclusion is very ironic. My vote is seven. Title (Brazil): “Socorro!” (“Help!”) My Blog: ****/

I love you, Raimi. I have a soft spot for Sam Raimi that borders on blind devotion. He’s one of those directors I’ll always keep on a pedestal, whether he delivers a masterpiece or a complete misfire. Send Help, unfortunately, leans closer to the latter—though it’s a disappointment I was already bracing for. And the frustrating part is that it begins so well. The opening sequences—those set in the office—have presence. There’s a clear functional intent, a rhythm that almost echoes Zack Snyder at times, and a sense of solid construction. For a moment, it genuinely feels like the film is building toward something compelling. But then the plane arrives… and everything begins to unravel, slowly but steadily, until it crashes under its own weight. Rachel McAdams becomes a rather conflicted focal point. Her performance exists in an uncomfortable space: her character feels pedantic, yet undeniably magnetic. She gives off both warmth and coldness at once, and that tension is valuable. I’m never entirely sure where she’s heading, even if I can sketch out possibilities. It’s not a performance that impresses me outright, but it does provoke something—and that matters. It leaves me wondering whether my issue lies with her as an actress or purely with the character. I feel compelled now to revisit About Time, The Notebook, and Mean Girls to find an answer. As it stands, my relationship with her here feels oddly toxic—an ongoing push and pull between attraction and rejection. With Dylan O'Brien, the reaction is similar, though more muted. I’ve always seen him as an actor who simply does the job. Never particularly charismatic, never truly transcendent. And here, once again, I feel a certain rejection—but it seems intentional, aligned with the character’s design. He’s effective at being unlikable, which, I suspect, is precisely the point. Where the film truly falters is in its visual texture—specifically, the CGI. It breaks immersion. It feels artificial, almost clay-like, as if nothing carries real weight. I understand the practical limitations of staging something as complex as a plane disaster, but when you think about how Christopher Nolan has approached similar challenges with tangible methods, it inevitably raises questions. Perhaps the issue isn’t the film itself, but my growing intolerance for digital artifice. Stripping away that digital falseness, the film remains visually engaging. It’s easy to watch, never overwhelming in the way Snyder’s more excessive tendencies can be. There’s a clear intention behind where the viewer’s gaze is directed, often emphasized with aggressive zooms. This flamboyant style strongly recalls Drag Me to Hell—a film that, like this one, seems to aim for horror but frequently slips into something bordering on parody. At times, it feels closer in spirit to Scary Movie than to genuine terror. I find myself laughing more than feeling fear. And yet, paradoxically, the film surprises with its brutality. The gore is explicit, sudden, and at times genuinely uncomfortable. It makes me straighten my back, react physically—and I appreciate that. I value cinema that provokes a visceral response, even if the rest of the film struggles to engage me. There’s an aggression here that I admire. Narratively, however, it’s painfully predictable. The dynamic of the undervalued employee versus the arrogant boss, with its inevitable reversal of roles, feels exhausted. I can already sense the trajectory from the premise alone. There’s no real sense of discovery. The core issue lies in the relationship between the two leads. The idea—two people who can’t stand each other forced to survive together in an extreme situation—is strong. But the execution lacks depth. They don’t fully convince me, neither together nor apart. There’s a missed opportunity to explore their interaction with the environment, to push the tension further. Ultimately, the film feels too much like a film. Everything is overly constructed, excessively shaped. Of course, cinema is always artificial—we have figures like Alfred Hitchcock and Stanley Kubrick, masters of meticulous control—but here, that construction feels off. Forced. And I’m aware of the contradiction: when a film leans too much into realism, I want it to go further; when it does, I criticize it for losing authenticity. That tension is, perhaps, partly on me. In the end, this is the weakest film I’ve seen from Sam Raimi so far. My expectations were already tempered, and thankfully so—because while it disappoints, it doesn’t quite feel like a crushing blow. Still, I don’t buy it. And that stings, because when someone of his caliber misses, you can’t help but feel it a little more.

圍繞性別權力的粗糙爽片（還並不爽），給一個極端情境的強設定，然後看二人角力，說白了還是關於權力位置關係的倒轉，比《悲情三角》第三章還要無聊。前半段在職場-荒島的對應裡還能維持一種略帶幽默的平衡，後面單純為了表現職場女性反抗黑化，放棄了真實邏輯，迅速走向崩壞。

This is a morally grey comedy cartoon that is so painfully run out the mill it ends up being borderline cringe and definitely overstays its welcome. Would be intellectuals will tell you how it's an examination of male-female power dynamic, yet this is the biggest hurdle of the movie - they are not remotely even. You have a woman who is the bestest at everything she does and a man who is an absolute idiot with a body to kill for. The movie pits them against each other and the result isn't an interesting drama, but some kind of a twisted torture porn where the man keeps failing due to his high stupidity, over and over and over. If you just want to watch a man suffer for two hours, you'll love this movie. For a person without issues, best to steer clear of this one.

A decent film with a good storyline, and some nice twists and turns. The acting, direction and dialogue were all pretty good, and it easily carried me through to the end. McAdams in particular was strong throughout, and mostly carried the film. I'd definitely watch it again.

Un bon gros film féministe… certes, je ne suis pas contre quand ça reste bien fait et justifié mais là, on surnage dans les eaux troubles d’un agenda féministe très excessif et provocateur (cf une… comment dirais-je… une allusion ou un clin d’oeil (?) à Hard Candy !). Mais d’ailleurs, tout le film demeure dans les excès… et c’est parfois bien drôle, notamment dans la violence, voire l’ultra violence de ce Koh Lanta impromptu au cours duquel la travailleuse dévouée doit survivre avec le salaud de patron qui traite les gens comme des chiens… (à part ses amis bien sûr). Donc, on trouve aussi un second agenda, celui du parti des honnêtes travailleurs et travailleuses face à l’ignominie des patrons méprisants… Et d’ailleurs, ce n’est pas étonnant que la génération Z désire plus que tout fonder sa propre entreprise : c’est pour être le patron ! car rien n’est plus jouissif que de pouvoir chier sur les subalternes (un délice !). Cela étant, si les intentions restent louables, les excès et les lourdeurs nuisent à la crédibilité et l’intérêt que l’on peut y trouver… heureusement que comme déjà dit plus haut, quelques scènes sont drôles (le sanglier !… ou la mesure disciplinaire notamment) et heureusement que le duo est très convaincant (dans leur finale de Con Lanta). Mais les rebondissements restent abusés et le manque de rythme plombe sévèrement le film : ça se traîne souvent dans une psychologie (et une justification) de comptoir, maladroite et ennuyeuse. Ce qui fait que le film peine à trouver ses marques entre la comédie morbide et ses agendas de justice sociale. Dommage !

Worst movie I've seen in a long time, maybe ever. Absolutely predictable, pointless, and none of the charactera are likable. I have no idea why this move is reviewed well.

(Mauro Lanari) "The new film by Sam Raimi unfolds between satire and a moral apologue" (Andrea Fornasiero). We weren't looking for the Wertmüller of "Swept Away" ('74), the DeVito of "The War of the Roses" ('89), or the Reitman of "Six Days, Seven Nights" ('98), but even less this level of stomach-churning cynicism where the cruelest, pardon: the most monstrous, wins: the multiple murderer, masterfully portrayed by McAdams. "The lackluster screenplay was not written by Raimi along with his brother but is the work of the far less equipped Mark Swift and Damian Shannon" (Raffaele Meale). Maybe so. 4½

It might have been a nice idea for a plot. Unfortunately, that's all they made of it. Nothing works here. The jokes fall flat, the CGI looks like it's from 2000, the visuals are like any other studio film from the last 20 years, the characters and story are unbelievable, and of course, as expected, this utterly worthless film is distracted by pointless violence. This movie is a complete waste of time.

Although the third act returns to the film's thriller roots, the ambiguous performances by Rachel McAdams and Dylan O'Brien, which ultimately prove highly convincing, are persistently imbued with a romantic undertone, creating a rather peculiar viewing experience throughout.

The emotional roller coaster between the male & female leads really does a swell job at luring the viewer into taking sides between these two characters. But the way each sequence kept me watching is becoming somewhat rare these days, and this film did manage to pull that off! I actually really enjoyed that subtle but creepy ending.

I like a lot of the stuff Raimi has done in the past. But this one is pretty bad. The whole intro with the overly "nerdy" main character who gets snubbed by her boss is so cringy I almost couldn't watch it. I mean, they could just have made her nerdy. That whole thing about taking a good-looking woman and then "make her ugly" by scruffing her hair and put her in clothes an old lady would wear is just so annoying to me. And her mannerisms and constant social awkwardness was waaaaay overdone. The only thing I enjoyed from that was the Office Space references.What's even worse is that after the accident she almost removes all of those purportedly awkward mannerisms. It aaalmost feels like she was only aaaacting like a "nerd" for the whole first part of the movie. Blergh... It's just dumb.I'm about one third in and I had to go write this review after the fight with the very obvious CGI piggie. It looked terrible and it was kind of the final nail in the coffin for this movie for me.

Triangle of Sadness for dummies. The plot is ok but the dialogue and characterization are weak. Giving the dirtbag boss some dimension would have helped. Contrived and dull. Has Raimi lost his mojo?

The movie was disgusting in the office, boring on the island. I legit called two plot points of the movie. Actors were good, but the overall story, is just very weak.

Sam Raimi drives the survival thriller genre to some amazing and sadistically giddy ends, with Rachel McAdams and Dylan O’Brien along for the ride in the back seat cackling and stabbing each other the whole way through. Linda and Bradley’s ordeal creates immensely fertile ground for Raimi to interrogate the validity of first impressions with twists and turns of the plot and of various sharp objects that seldom tire. Sure, drag me to hell, but let's stop at this island on the way and have a freakin’ party with Linda and Bradley!

Superior horror/action/survival movie leverages a large budget, top tier casting and set pieces to weave it's often funny yet morbid tale. For anyone familiar with raimis playbook there are few surprises to be found but it works great with a decent pacing and editing. Soundtrack is decent too. Overall I found this movie very entertaining but not very cerebral. The reality of the world we're shown and the characters who inhabit it is only one layer deep and quite cartoon like . Nonetheless if you're in the mood and have an audience this probably works very well!

What a garbage movie, the message is be worse than the person that was bad to you, and murder a lot of people (including innocents), and you will be happy, rich, and famous, wow what a good and positive message, wtf. And it's just straight while male humiliation during the entire movie, don't waste your time with this ****, it's not worth it even pirated. Sam Raimi really fell off, now he is just a male feminist.

This is honestly pathetic writing meant only for pandering to the simple minded

If you want to be rich and Famous, kill many people on a deserted island. Noted. Ok, I'm joking. This film plays with a lot of grey areas in human behaviour, and while it does escalate incredibly right at the end, where the seemingly bad guy turns good and so on, it ends on a very unsatisfying note. I just feel a bit disconnected right at the end, because all of a sudden the film wants to break the 4th wall, etc. I feel that the writers had no idea how to end this film, so they just said, " F it, let's go in this direction. Was it neat to see some survival stuff and some unsettling details unravel? Yes. Is it all satisfying? kinda but not really. 8/10, Nice film, Sam. Imagine if you did a Spider-Man Film, whoa, that would work so well. Please do a Spider-Man 4, thanks.

The plot is a nice variation of well-worn two people survive a plane crash get stranded on a tropical island must learn to work together trope. The 45 minutes had potential, as both characters alternate between sympatric and awful. After that, Rami goes way over the top with violent gore and ridiculous plot contrivances. As one critic mentioned, the last hour digresses into two awful people being awful to each other. Unless you're a fan of over the top gore and ridiculous plot contrivances, skip it.

Absolument fantastique ! Ce film est horriblement jouissif : on se prend des scènes vraiment dégueulasses qui font leurs effets. Ce que j'ai adoré, c'est le mélange entre les délires de potes et l'ambiance entre collègues de boulot ; c'est bien rendu et ça rend le tout encore plus efficace. Un pur régal bien trash !

Fun! Character developments are a little off, but movie was fun and entertaining.

Send Help is the newest horror-comedy from Sam Raimi. From writer Damian Shannon and Mark Swift, who also worked on the Baywatch movie, the Friday the 13th remake, and Freddy vs Jason. That pedigree may not sound promising, but it does feel more like a Sam Raimi film than anything. And a great one. It stars Rachel McAddams as an under-appreciated cubicle worker who is stranded on a desert island with her jerk boss, played by Dylan O’Brien. He’s an arrogant frat boy type who constantly looks down on her even in a time like this. She’s a strong capable worker who hates his guts. This is not going to go well for him. And these characters are played very well. Rachel McAddams makes this girl into quite the evil person, but still manages to be likable, mostly by comparison to the character that O’Brien plays so well. This is a situation where the girl is completely in the wrong, but maybe not because the man is just that much of a ****. We see where she’s coming from, at least at the beginning, because of her struggles in her career, and because he’s just that horrible in the beginning. She’s basically likable in the same way Walter White is. But there are a few moments where O’Brien becomes the more sympathetic one, mostly with how far she goes at times. It’s evil sociopath versus evil tech bro. Who will come out on top? And Raimi’s style is perfect for that conflict. He fills this with plenty of dark comedy to go with the menace. And a bit of over-the-top gore other gross fluids as well. It handles the often one-sided power struggle with sadistic glee. This is the feel-bad comedy of the year. And it is a lot of fun. Triangle of Sadness for sickos. The horrific side of Sam Raimi is back in full swing. ****/@jaythemovieguy7751

This film is a dark, fun, unsettling comedic thriller that is true to Raimi’s reputation. As a fan of his work, it is everything I hoped it would be.

Movie was great I loved how jobs treat people cruel until it’s time to be cruel back

Over-hyped, story was ridiculous, crappy writing and seemed pretty phoney and unrealstic. stink..stank...stunk

Definitely the most surprising and refreshing movie I have seen in recent years. Rarely have I heard such uncontrolled laughter or moments of pure comedic agony in a cinema. People can still make great cinema seem.

Send Help apuesta por una premisa clásica de supervivencia y la desarrolla de manera correcta, aunque sin demasiadas sorpresas. La tensión está presente y el ritmo es constante, pero el guion no profundiza lo suficiente en los personajes ni en los conflictos internos. Funciona como entretenimiento ligero dentro del género, aunque le falta ese elemento distintivo que la haría destacar.