Sam Raimi Returns With Survival Thriller Send Help

Moviegoers are in for a wild ride as Sam Raimi, the acclaimed director behind cult classics like Spider-Man and Evil Dead, returns to the big screen with his new psychological survival thriller, Send Help. The film, starring Rachel McAdams and Dylan O’Brien, is set to hit theaters nationwide on January 30, 2026, with early sneak preview screenings already generating buzz on January 24. According to Bloody Disgusting, the film will also be available in 3D, courtesy of 20th Century Studios, and has earned an R rating for its strong, bloody violence and language.

The story of Send Help centers on two coworkers, Linda Little (McAdams) and Bradley Preston (O’Brien), who find themselves the sole survivors of a harrowing plane crash. Stranded on a remote, deserted island, the pair must confront not only the perils of the wild but also their own tangled workplace grievances. As Dread Central describes, the film quickly morphs from a tale of survival into a darkly comic and unsettling battle of wills, with the environment proving just as treacherous as the psychological games they play with each other.

Early promotional clips released on January 23 have already set social media abuzz. One scene shows McAdams’ character catching and killing a pig, joking, “Little ol’ me was bringing home the bacon,” before sharing a tense laugh with O’Brien’s character. Another clip features O’Brien threatening to fire Linda, even as the office dynamics play out in the most unlikely of settings—a deserted island. As Bloody Disgusting and Dread Central both note, the tension is palpable, and the humor is razor-sharp, a hallmark of Raimi’s unique style.

Sam Raimi’s return to the horror-adjacent genre after nearly two decades has been highly anticipated. At the film’s world premiere at TCL Chinese Theatre in Los Angeles on January 21, Raimi spoke to The Hollywood Reporter about his casting choices and the film’s tone. “Rachel was a great choice because she’s never gone [this dark] before and she really knows how to, and yet she can do comedy brilliantly,” Raimi said. He praised McAdams for showcasing a “very tough woman” side, adding, “Fortunately, all actors and actresses have monsters within them to bring out; I know from personal experience.”

The director also highlighted the film’s roots in real-life Hollywood workplace drama. Co-writer Mark Swift drew from his own experiences as an assistant at law firms and movie studios, recalling, “I had very tough bosses. I lived in a cubicle and I often fantasized about turning the tables.” Producer Zainab Azizi echoed these sentiments, sharing stories of office politics and credit-stealing that found their way into the script. “There are a couple of lines in there that [McAdams’ character] Linda says that I’ve said before,” Azizi joked to The Hollywood Reporter.

For Sam Raimi, the challenge was blending old Hollywood storytelling traditions with a fresh, genre-bending approach. Speaking to TheWrap at the premiere, he explained, “We tried to take as original an approach as possible. It’s the oldest story in the world, two people that didn’t get along and have grievances crash land on a deserted island. Also, the transformation of a more abused character coming into their own and becoming the hero of the piece and not the underdog is an old Hollywood tradition.” Raimi described the film as “a lot of old Hollywood traditions just jammed together in a new mash-up.”

The cast of Send Help is nothing short of impressive. Alongside McAdams and O’Brien, viewers can expect appearances from Dennis Haysbert, Xavier Samuel, Chris Pang, and Sam’s own daughter, Emma Raimi. And, of course, no Raimi film would be complete without a cameo from genre legend Bruce Campbell. The score, composed by Danny Elfman, adds another layer of intensity and dark whimsy to the film, drawing on his experience with projects like Spider-Man and Beetlejuice.

Behind the scenes, the production was as challenging as the plot itself. Dylan O’Brien recalled to TheWrap the physically demanding shoot, yet emphasized the camaraderie that developed on set. “It was so physically tough on some days, really hard for the crew. But we had such a fun and silly time, such a good vibe. Sam is so silly and funny and sweet. And Rachel’s the best. It’s like going to work with your buddy every day and wanting to make her laugh, even when we’re the most tired. Like a late-night sleepover.”

Rachel McAdams, no stranger to cinematic peril after her role in 2005’s Red Eye, was asked whether she’d rather face terror on a plane or on an island. Her answer, as reported by TheWrap, was clear: “Being terrorized on a plane by an evil guy or being terrorized on an island by this guy? I’ll take my chances on the island. I can just hide in the bushes. Whereas on a plane, where can you go?”

The themes of Send Help resonate far beyond the confines of its narrative. By drawing on the all-too-relatable fantasy of turning the tables on a toxic boss and the challenges of office politics, the film taps into the zeitgeist of workplace culture in Hollywood and beyond. As co-writer Mark Swift and producer Zainab Azizi’s real-life experiences attest, the story’s emotional core is rooted in the everyday struggles of employees everywhere. The blend of horror, dark comedy, and psychological drama ensures that audiences will be kept on their toes—and perhaps squirming in their seats.

As the countdown to opening night continues, anticipation for Send Help is at a fever pitch. With its genre-defying style, powerhouse performances, and a creative team at the top of their game, Sam Raimi’s latest promises to be anything but ordinary. Whether you’re a fan of survival thrillers, dark comedies, or just looking for a cathartic escape from your own office woes, this is one cinematic journey you won’t want to miss.

With early screenings already underway and the official release just days away, audiences everywhere are about to discover what happens when workplace grudges are left to fester in the wild. In Send Help, survival is only half the battle—and the real fight might just be for the last word.