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<v Speaker 1>Many of us can relate to having a bad boss,

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<v Speaker 1>a bad boss who maybe undervalues your work and overlooks

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<v Speaker 1>your contributions, maybe someone who disparages you publicly and sees

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<v Speaker 1>you as expendable. However, rarely are we put into a

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<v Speaker 1>position where not only do they have to directly acknowledge

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<v Speaker 1>our value, but that value is the difference between life

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<v Speaker 1>and death for them. It's Send Help. I'm Ronald Young Junior,

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<v Speaker 1>and I'm leaving the theater all right. This is Ronald

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<v Speaker 1>and I am leaving the theater after seeing Send Help.

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<v Speaker 1>Send Help. Written by Damian Shannon and Mark Swift, directed

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<v Speaker 1>by Sam Raymie, starring Rachel McAdams and Dylan O'Brien, and

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<v Speaker 1>as usual, for complete listing of the cast and crew,

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<v Speaker 1>check out the link in our show notes. It is

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<v Speaker 1>just me today, all right. Send Help is a film

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<v Speaker 1>about a woman who works in an office where she

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<v Speaker 1>is underappreciated, very very very underappreciated. She is very good

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<v Speaker 1>and capable at her job, and her boss promises her

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<v Speaker 1>a promotion, but then he dies and the company is

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<v Speaker 1>taken over by his son, who decides to give her

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<v Speaker 1>job to one of his friends. After doing this, they

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<v Speaker 1>then go on a very important business trip in which

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<v Speaker 1>she is required to be there, and they get on

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<v Speaker 1>a private plane. The plane crashes and the woman and

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<v Speaker 1>her boss, the woman being Rachel McAdams as Linda and

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<v Speaker 1>her boss being whatever his name is played by Dylan O'Brien,

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<v Speaker 1>are stranded on an island. Now, one of the points

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<v Speaker 1>of this movie is that the main character is a

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<v Speaker 1>huge fan of the television series Survivor and as a result,

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<v Speaker 1>has garnered a lot of skills to be able to

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<v Speaker 1>take care of herself on a desert island. So when

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<v Speaker 1>they get to the island, all of a sudden, she

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<v Speaker 1>becomes the one that is way more valuable and her

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<v Speaker 1>boss becomes the one who is less valuable. I liked

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<v Speaker 1>parts of this movie, but largely I didn't like it

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<v Speaker 1>that much. I feel like this is a movie that

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<v Speaker 1>takes an idea that I really like, which is what

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<v Speaker 1>is valuable when there's no electricity, or rather, who is

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<v Speaker 1>valuable when there's no electricity? Because we find that the

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<v Speaker 1>people that we value the most are the most valuable

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<v Speaker 1>when there's electricity, But if there's no electricity, it turns

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<v Speaker 1>out the people that we value the least all of

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<v Speaker 1>a sudden way more valuable, meaning do you know how

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<v Speaker 1>to build a fire? Do you have any survival skills?

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<v Speaker 1>If we turned off the lights right now, who would survive?

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<v Speaker 1>And this is examining that question in a way that

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<v Speaker 1>I thought was interesting from the previews. A couple years ago,

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<v Speaker 1>there was a Best Picture nominee called Triangle sad This

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<v Speaker 1>idea is played out better in Triangle of Sadness than

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<v Speaker 1>I think in this film. In Triangle of Sadness, you

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<v Speaker 1>have the cleaning staff who is stranded on an island

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<v Speaker 1>with these very ultra rich people from the mega yacht

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<v Speaker 1>they were just on. And the woman who was in

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<v Speaker 1>the cleaning staff knows how to survive, which all of

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<v Speaker 1>a sudden makes her in charge. And the rich folks

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<v Speaker 1>that are there are like, wait a minute, we're rich.

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<v Speaker 1>You can't tell us, And she's like, what are y'all

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<v Speaker 1>gonna do here? And I remember that's a very strong

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<v Speaker 1>premise to of the movie. But then the central debate

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<v Speaker 1>becomes do we stay here where I am very very

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<v Speaker 1>valuable because I have all of these skills, and do

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<v Speaker 1>I bypass any opportunity to get back where the person

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<v Speaker 1>who is relying on me has way more power in

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<v Speaker 1>that place, and that's kind of what we're wrestling between

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<v Speaker 1>in this movie. Rachel McAdams feels comfortable on the island,

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<v Speaker 1>wants to stay there, has no desire to go back

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<v Speaker 1>to a world in which he's overlooked, works hard for

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<v Speaker 1>no real payoff. And Dylan O'Brien wants to get back

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<v Speaker 1>to the world where he's the king and he's in charge,

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<v Speaker 1>and he doesn't he doesn't even really respect Rachel McAdams

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<v Speaker 1>on this island. I enjoy this as an acting exercise

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<v Speaker 1>between these two people that I love. I love Dylan

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<v Speaker 1>O'Brien and I love Rachel McAdams. I love seeing Rachel McAdams.

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<v Speaker 1>I feel like I don't see her as much as

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<v Speaker 1>I used to, but it was good to see her

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<v Speaker 1>and it was good to be reminded of what she's

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<v Speaker 1>capable of in a film like this. It is a

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<v Speaker 1>Sam Raimi film, which means that you get a lot

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<v Speaker 1>of gore, a lot of very classic Sam Raimi stuff.

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<v Speaker 1>If there's an eye, he's gonna poke it. If there's

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<v Speaker 1>if there's blood, there's gonna be buckets of it. If

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<v Speaker 1>there's an animal, it's gonna get skeured that's just who

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<v Speaker 1>he is, and there's a lot of that in this film.

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<v Speaker 1>Early in the film I thought it was I was

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<v Speaker 1>with it, I was with where the I was with

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<v Speaker 1>the original premise. I think it's a good idea, and

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<v Speaker 1>I was with the original premise. But then I feel

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<v Speaker 1>like the movie starts to kind of amble along and

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<v Speaker 1>not really keep up the pace. It doesn't really build

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<v Speaker 1>in a way. It kind of it botches a reveal

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<v Speaker 1>by telling us a little too much too early. I

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<v Speaker 1>think based on how they do a reveal in this

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<v Speaker 1>film later in it, it seems to me that it

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<v Speaker 1>would have been better served for them to hold a

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<v Speaker 1>little bit more back and put it all in the reveal,

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<v Speaker 1>but that's not what they chose to do, so for me,

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<v Speaker 1>it felt like it deflated this kind of twist in

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<v Speaker 1>the movie. At times, this movie kind of reminded me

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<v Speaker 1>of Misery, the Kathy Bates movie with James I'm Forgetting

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<v Speaker 1>His James Came, James Khn, James Kahn, James Khn. It

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<v Speaker 1>reminded me of that movie for a while, and when

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<v Speaker 1>it was more that movie than it was whatever this

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<v Speaker 1>movie was, I thought it was better when it was

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<v Speaker 1>when it was pushing more towards misery, I thought it

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<v Speaker 1>was a better movie, but when it was kind of

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<v Speaker 1>moving away from misery, it just it didn't feel as

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<v Speaker 1>good in my opinion. So overall, it's fine, but it's

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<v Speaker 1>not really saying much and it's it's not I felt

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<v Speaker 1>like there was maybe there was a conversation about what

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<v Speaker 1>it means to like again the valuable who's valuable, where

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<v Speaker 1>that conversation isn't really examined in a way where the

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<v Speaker 1>characters get to talk about it, so the characters don't

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<v Speaker 1>really approach that, so that I felt like at some

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<v Speaker 1>point there was no change in these characters. They stay

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<v Speaker 1>the same from the beginning to the end, and when

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<v Speaker 1>you get to the end of the movie, it doesn't

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<v Speaker 1>It's not like you get to a place where you

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<v Speaker 1>feel like they went on a journey and now we

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<v Speaker 1>understand them more. The movie just ends, and I think

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<v Speaker 1>people can walk out of this being like, well, that

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<v Speaker 1>was fun, and some people will think that I was

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<v Speaker 1>with colleagues tonight who thought it was fun, and for me,

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<v Speaker 1>I want them to grapple with it a little bit more,

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<v Speaker 1>grapple with the idea. You have a very good idea,

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<v Speaker 1>let's grapple with it. And I feel like Triangle of

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<v Speaker 1>Sadness does a very good job of that and ends ambiguously,

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<v Speaker 1>which makes it even tougher, you know, whereas in this

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<v Speaker 1>one there is no ambiguous ending. At some point several

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<v Speaker 1>times I thought, Oh, is this are we dealing with?

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<v Speaker 1>Is someone dreaming? Is this just all in someone's mind?

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<v Speaker 1>What's happening here? But it ends up being very surface

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<v Speaker 1>level in that it's not in someone's mind, this is

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<v Speaker 1>actually happening. And as a result, I just felt like,

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<v Speaker 1>I don't know. I just felt like, well, why am

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<v Speaker 1>I watching this? And I wouldn't watch it again. I

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<v Speaker 1>feel like there were parts of this. I'd watch Triangle

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<v Speaker 1>of Sadness again right now, and the majority of that

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<v Speaker 1>movie is not on a desert island, And I'm telling

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<v Speaker 1>you I would watch that entire movie right now once again. Granted,

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<v Speaker 1>I don't know how it being on a desert island

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<v Speaker 1>would make it more of a valuable movie to watch

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<v Speaker 1>for me, but I would watch it again right now.

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<v Speaker 1>I wouldn't watch this again. I love Dylan O'Brien, I

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<v Speaker 1>love Rachel McAdams, and for their sakes and for my enjoyment.

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<v Speaker 1>I hope that this movie does well when people like it,

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<v Speaker 1>so that they get more roles and continue to keep working.

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<v Speaker 1>But outside of that, ugh, this one, this one wasn't

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<v Speaker 1>really it for me. With all of that being said,

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<v Speaker 1>I give it a two. I give it a two

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<v Speaker 1>of five stars. Normally I'd be like, I give it

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<v Speaker 1>a two point nine to nine. But I really didn't

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<v Speaker 1>like it, and I don't want to watch it again,

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<v Speaker 1>especially knowing where it's going and knowing that it could

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<v Speaker 1>have been a better movie. There's at one point in

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<v Speaker 1>this film in which, again, when it's more misery, it's better,

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<v Speaker 1>but it doesn't quite grasp misery. And I feel like

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<v Speaker 1>at one point, and when I say misery, I mean

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<v Speaker 1>misery the movie, I realized that sentence can sound like

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<v Speaker 1>I'm just saying when there's more suffering in the film.

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<v Speaker 1>There's one point in the movie in which Dylan O'Brien

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<v Speaker 1>decides that he's getting out of here no matter what,

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<v Speaker 1>and so he does something to Rachel McAdams in order

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<v Speaker 1>to make his move to leave the island. However, she

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<v Speaker 1>wasn't holding him captive. He didn't have to do that,

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<v Speaker 1>which was confusing to me because I thought I missed something.

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<v Speaker 1>I remember thinking, is she holding him captive? But she

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<v Speaker 1>never was. She never was. So yeah, two of five

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<v Speaker 1>stars and with that leaving the theater is a production

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<v Speaker 1>of Oh It's Big Ron Studios. I mixed this episode.

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<v Speaker 1>By the time you're hearing this, we are done with

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<v Speaker 1>January and we are strongly in February Eve though I'm

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<v Speaker 1>recording this in January, and we've done a lot in

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<v Speaker 1>the Patreon. We've done a lot, We've delivered a lot.

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<v Speaker 1>We've delivered a lot, and everything that we've delivered has

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<v Speaker 1>hopefully made your contributions see more worth it for all

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<v Speaker 1>of you. However, it is a lot of work. This

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<v Speaker 1>is labor. I am very tired right now. I got

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<v Speaker 1>off a plane today, went home, did some laundry, immediately

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<v Speaker 1>got back in my car, got my recorder, came to

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<v Speaker 1>this screening because it was the only time that I

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<v Speaker 1>could go and I didn't want to miss this movie

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<v Speaker 1>and I want to keep doing good work for y'all.

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<v Speaker 1>So it is a labor of love, but it is labor.

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<v Speaker 1>If that means something to you, go to patreon dot

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<v Speaker 1>com slash oh It's Big Ron, or go to the

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<v Speaker 1>link in our show notes. Show art from Heather Wilder.

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<v Speaker 1>Theme music by the mysterious Breakmaster Cylinder. For more information

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<v Speaker 1>about send help, check out our show notes. You can

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<v Speaker 1>follow me on Instagram, blue Sky, TikTok, threads, or letterboxed

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<v Speaker 1>at oh It's Big Ron That's at hit Sbig r

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<v Speaker 1>o N. Can find out more about this show and

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<v Speaker 1>other Owis Big Round Studio shows by following us on

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<v Speaker 1>Instagram at Owits Big Round Studios leaving the theater will

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<v Speaker 1>be back soon. Thanks for listening. I'm Ronald Young Junior

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<v Speaker 1>and I'm James King, James Conn, James Conn, James Conn