linda

The poster for “Send Help” advertises the film as from the director of “The Evil Dead” and “Drag Me to Hell” — and notably not Sam Raimi’s bigger hit “Spider-Man” (or its two sequels). No, the kind of Raimi movie you’re getting here is irreverent, silly and very bloody: a character study that also features incredibly goofy scares. Written by Damian Shannon and Mark Swift, “Send Help” is a gonzo survivalist riff that works as well as it does because it features two incredibly game actors that surf the wave of Raimi’s tonal madness with a blend of absolute glee and carefully honed skill.

And if that poster were to present the star of “Send Help” in the same way as Raimi, the tagline would read “from the star of ‘Red Eye’ and ‘Mean Girls,’” because Rachel McAdams is fully in her horror-comedy mode here. It’s an excellent reminder of her range. Co-star Dylan O’Brien also proves himself once again to be one of the best actors of his generation: a former teen heartthrob who now operates more like a chameleonic character actor. Both McAdams and O’Brien move beyond expectations to deliver highly expressive, almost clownish performances — in the best way.

McAdams is astonishingly dowdy as beleaguered corporate workhorse Linda Liddle, a “Survivor”-obsessed loser who is passed over for a promotion by her slick new boss, Bradley Preston (O’Brien), a nepo baby. In an attempt to play the good ol’ boys game, she boards a private flight to Bangkok with the team, on which she bangs out memos while they laugh at her “Survivor” audition tape. One plane crash later, the tables are turned, with the injured Bradley now at the mercy of Linda and her survival skills on a tropical island.

The swap in the power dynamic thrills Linda, calling to mind Ruben Östlund’s “Triangle of Sadness,” specifically the relationship between Dolly de Leon and Harris Dickinson. But “Send Help” is more of a psychological exploration than overt class satire, though it does explore the ridiculous notion of what it would be like to be stranded on an island with your boss.

McAdams and O’Brien deliver almost silent-film era acting with their faces (there’s one bravura long shot of O’Brien eating a bug that’s absolutely virtuosic) and Raimi’s camera playfully pushes the audience around, offering exaggerated tilts and close-ups, screaming: Look at this. There’s no subtlety, but would you expect that from the director of the “Evil Dead” movies? You’re just waiting for the ghouls and blood geysers to pop out. We don’t come to a Raimi film for its natural realism.

If there’s any flaw to “Send Help,” it’s that it generates such nuance and empathy for both Linda and Bradley, even within such outlandish circumstances and style, that it feels impossible to root for just one of them to come out on top. The film paints itself into such a corner when it comes to their conflict that any ending would feel too clean, too pat. As it stands, the ending is just that. But it’s to Raimi and the actors’ credit that they manage to make such an odious character as Bradley actually sympathetic — and so clear a heroine as Linda complex and thorny. Nothing’s perfect but “Send Help” is a blast nevertheless.