There’s only so much that can really be done with the “stranded on a deserted island” plot device. That said, a filmmaker as talented as Sam Raimi (1981’s Evil Dead, the 2000’s Spider-Man trilogy, Drag Me to Hell) can certainly still find a way to leave his mark on it, and with the help of a darkly comedic, fiercely feminist script by Damian Shannon and Mark Swift (both of Freddy vs. Jason), there’s more than enough here to make it worth another trip out to sea.
When Linda Liddle’s (Rachel McAdams) boss dies, she eagerly awaits the promotion he had promised her. But when his son and replacement Bradley (Dylan O’Brien) arrives to take over, he can barely contain his disgust at the socially awkward woman. His father’s right-hand-man Franklin (Dennis Haysbert) mentions that she does brilliant work and the company would be more-or-less lost without her, but Bradley is unmoved and instead gives the job to one of his golfing buddies. Linda is outraged and actually builds up the gumption to tell him so. It doesn’t change his mind, but he decides to invite her along for an overseas trip to prove herself. As you have probably surmised, she accepts, they hop on his private jet with a few other coworkers, and the plane crashes along the way in an impressively staged sequence.
Linda and an injured Bradley are the only two left alive, and the Survivor-obsessed Linda sets about building shelter, acquiring fresh water and food, and building a fire. Bradley still acts like he’s in charge, but Linda is having none of it and puts him in his place, setting off a battle of the sexes full of twists and grimly humorous shocks that will keep the viewer on the edge of their seat.
O’Brien is excellent as the smarmy, condescending, yet somehow still weirdly charming boss while McAdams gives a spectacular performance that recalls Kathy Bates’ Oscar-winning turn in Misery, ably switching between innocent naïf and dangerous predator. Both roles require their actors to oscillate between behavioral extremes and both prove more than up to the task.
The island looks gorgeous and is captured beautifully by cinematographer Bill Pope, a frequent Raimi collaborator, and Danny Elfman livens things up with one of his better recent scores. Both work to help add to that certain over-the-top, violently endearing zaniness that the director brings to his best projects, and whenever it fully emerges the film is at its strongest. There is a short stretch in the middle where things drag just a little and a late-film twist is easily guessed, but Send Help is a lot of fun. Perfectly attuned to our era, anchored by stellar performances, highly entertaining, and delivered with a delightfully bloody smirk by one of horror’s best directors, this is an early-year treat. ★★★★
rated r for strong / bloody violence and language.
★★★★★ = Excellent | ★★★★ = Very Good | ★★★ = Good | ★★ = Fair | ★ = Poor
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