Linda Liddle (Rachel McAdams) is a sad budget who brings smelly tuna sandwiches to the office, has lucky (and smelly) shoes and lives alone with her pet with whom she shares her breakfast. He’s also a dedicated, determined, hard-working individual – one person who keeps his accounting firm running by hitting the ground running and getting the job done. Unlike the short-haired brothers who bully Linda and leave her feeling of eternal determination.
Her new boss, Bradley Preston (Dylan O’Brien), is a jackal with a well-groomed beard and his first job is to tell Linda to her face that she shouldn’t be expecting a promotion anytime soon. .“type” (as in, an older woman who doesn’t want to go public) is not considered boardroom material. Fortunately, Linda is asked to join a group of brothers on a business trip to Bangkok and their private plane explodes, resulting in the horrific deaths of those on board, and Linda and Bradley are stranded on an island in Southeast Asia. as Linda was also attacked by the truth The TV perennial, A survivorand he is able to control himself and then another of these restraining colds. Bradley is now his mistress.
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Send Help sees veteran director Sam Raimi return to his intimate and horror roots in this original work based on the original. IP since 2009 indie humdinger, Drag me to Hell. It’s an absolute hoot, made possible by the sublime and intuitive chemistry between the two leads who are clearly willing to edge their director. O’Brien delivers a very evil and arrogant Bradley, whose silver spoon title is now coming back to bite him in the ass. His own the crazy one A cackle would make Bruce Campbell proud. McAdams, on the other hand, is a wicked delight as Linda, smiling, sympathetic, caring, but will definitely consider liberating a man from his genitals if he crosses her.
In terms of explaining the complexity of Linda’s character, some have referred to Annie Wilkes’ kneecap-hammering obsessive by Rob Reiner of Stephen King fame, Sadness. Yet that feels small, especially because of the way Raimi and screenwriters Damian Shannon and Mark Swift flirt and try to introduce the situation into the environment of both characters. There’s a satisfying feel to the film, and both Linda and Bradley make honest and unapologetic productions of their professional and personal lives before the crash. All of which is to say, Linda isn’t a baddie — but neither is, perhaps, Bradley.
Raimi uses Send Help as an opportunity to change his copyrighted legal power, and while the camera is less silent than the expansive excesses of films like Evil Dead II or less He is blackhe is still a master at using movement and framing to emphasize and bring us closer to the characters and their heightened emotions. Fans of the director will be able to revel in all the subtle callbacks and trademarks (including the eye-popping violence), while everyone else will be left reeling from a film that’s more insightful about gender wars, corporate culture clashes and the scourge of capitalism than a film like Ruben Östlund’s, self-blood blooms. The Sadness Triangle.
