Send Help follows Linda Liddle and her boss, Bradley Preston, who survive a plane crash and wash up as the only survivors on a remote, deserted island. Stranded with old workplace grudges, limited resources, and rising tensions, they face the elements, each other, and shifting power dynamics in a battle for survival—and perhaps something more final. Send Help Review COMING SOON WOKE REPORT I know that some of you are going to disagree, and I’d love to hear from you in the comments If it Looks Woke and It Smells Woke… Some of you are going to rail against this, and I understand why. Taken at face value—judged purely by its visible components—this movie looks undeniably woke: a character type audiences have been conditioned to read as female wish-fulfillment, familiar dude-bro archetypes, and a cluster of cues that usually signal a lecture rather than a story. But Send Help asks for something rarer than agreement: patience. Wokeness is agenda-driven by design. It prioritizes messaging over narrative, instruction over immersion. That isn’t what’s happening here. While the film employs archetypes that have been overused—and often abused—by contemporary filmmakers, it does so intentionally and with restraint. Nothing is there to score points or shame the audience. Everything is there because the film needs it to function. This is a work of careful calibration. Every element is balanced against the others, and none can be altered without breaking the whole. Soften a character, tip a perspective, offer an early concession—and the spell collapses. Raimi’s direction depends on letting the film be what it is, on its own terms. Both of the main characters must be exactly who they are, or else. I ultimately landed on Woke-ish, and that distinction matters. McAdams’ character is given a hair more initial sympathy—but not as a statement and not as instruction. It’s a functional tilt, one that the film needs in order to keep its footing. Remove it, and the structure collapses. What Send Help understands—and what so few modern thrillers do—is that suspense comes from instability. This is a thriller that actually thrills because you’re never allowed to settle into a fixed perspective. The film can shift whose viewpoint you’re inhabiting from moment to moment, sometimes within the same exchange, even the same sentence. Just when you think you know where you stand, the ground moves. That’s why the character balance has to be exact. Not equal—exact. Any effort to sand down the edges, to “correct” the optics, or to clarify who the audience is supposed to side with would drain the film of its tension. Raimi’s craftsmanship lies in his refusal to do that. It’s also why the movie feels almost anachronistic in the best way. Twenty years ago, no one would have argued over its politics. It would have been recognized as what it is: a tightly calibrated thriller that trusts ambiguity, allows flawed people to remain flawed, and prioritizes suspense over signaling. The post Send Help first appeared on Worth it or Woke.