Sam Raimi’s latest venture, Send Help, is currently enjoying a strong performance at the box office, holding the top spot for a second weekend and grossing $34 million in its first week against a $40 million production budget. However, the film’s journey to the big screen wasn’t straightforward. Originally developed at Sony Pictures, the dark comedy/survival thriller nearly bypassed theaters altogether in favor of a direct-to-streaming release.
According to The Wrap, the shift in strategy came in the wake of the COVID-19 pandemic, when Sony executives began to question the viability of a theatrical release. Raimi, however, firmly resisted the move, ultimately relocating the project to 20th Century Studios to ensure his vision for an “audience experience” remained intact.
“The studio, at the time, said, ‘You can’t make this as a theatrical film. We could make it as a lower-budget, controlled streaming film’,” Raimi explained. “I don’t mean to be a snob, but I’m designing this as an audience experience. I wanted the interaction of the theater to make it work, because I know that flavor, and I need that. I design my movies to play upon the audience in the theater. I really do. I think it’s a different approach you take.”
This isn’t simply a case of a director preferring one distribution method over another. It speaks to a broader tension within the industry regarding the value of the theatrical experience, particularly for films that don’t fit neatly into established blockbuster molds. Raimi, known for his work on the Evil Dead franchise and the original Spider-Man trilogy, has consistently emphasized the importance of connecting with audiences in a communal setting. His insistence on a theatrical release for Send Help underscores his belief that certain films are fundamentally enhanced by the shared experience of a movie theater.
The situation at Sony highlights the challenges studios face in navigating the post-pandemic landscape. The success of streaming platforms has undoubtedly altered the industry, offering new avenues for distribution and revenue. However, Sony’s recent track record suggests a degree of uncertainty in its approach to theatrical releases. The studio recently sent KPop Demon Hunters directly to streaming, where it found success, but potentially left money on the table. Several other recent cinema releases have underperformed, even those that garnered critical acclaim, such as 28 Years Later: The Bone Temple. Despite these recent setbacks, Sony is banking on a guaranteed hit with a new Spider-Man film slated for release this summer.
The story of Send Help also offers a glimpse into the creative process and the power dynamics between directors and studios. Raimi’s willingness to “shop” the film to another studio – 20th Century Studios – demonstrates a level of agency that is increasingly rare in the current Hollywood climate. It’s a testament to his established reputation and the strength of his creative vision. 20th Century Studios, according to reports, not only supported the film’s original direction but actively encouraged Raimi to lean into its more unconventional elements, recognizing that its unique voice was its greatest asset.
The film itself, starring Rachel McAdams and Dylan O’Brien, centers on an office employee and her boss who find themselves stranded on a deserted island after a plane crash. As they struggle to survive, the power dynamics between them shift, leading to a darkly comedic and suspenseful exploration of workplace relationships and societal hierarchies. The premise, described as a blend of drama, comedy, and horror, clearly appealed to Raimi’s penchant for genre-bending storytelling, a hallmark of his earlier work like Evil Dead II and Darkman.
Raimi’s return to this more “gonzo” style of filmmaking, as described by The Wrap, is a welcome development for fans who have appreciated his willingness to push boundaries and experiment with tone. While his recent work on projects like Doctor Strange in the Multiverse of Madness and Oz the Great and Powerful was well-received, it was often characterized as “for-hire” work, where he was primarily tasked with executing a pre-established vision. Send Help, in contrast, represents a more personal and creatively fulfilling endeavor.
The success of Send Help could have broader implications for the industry, signaling a willingness among audiences to embrace original, unconventional films in theaters. It also reinforces the importance of director-driven projects and the value of creative autonomy. As studios continue to grapple with the evolving entertainment landscape, Raimi’s victory serves as a reminder that sometimes, the best way to reach an audience is to trust the vision of the filmmaker and provide them with the space to create something truly unique.
