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Every Sam Raimi Movie, Ranked: Where Does Send Help Land?

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Ignacio Weil

Entertainment - February 11th 2026, 18:30 GMT+1

Send help 2026 intro cropped processed by imagy — About This Gallery:

For this list, we’re focusing on every movie Sam Raimi has directed – best known for a filmography packed with splattery gorefests and superheroes (and, somehow, a baseball one? Sure!). And yes, we’re ranking his latest film, *Send Help*, too. But… how good is it really? | © Raimi Productions

Cropped Oz The Great and Powerful 2013 — 16. Oz the Great and Powerful (2013)

*Oz the Great and Powerful* looks expensive enough to buy its own Emerald City, but it feels oddly timid for a director who usually loves pushing a scene until it squeals. The opening con-man setup has a nice snap, then the movie slides into factory-made fantasy beats where the stakes never feel sharp. The digital sheen is constant, and the emotional turns land like they were approved in a meeting rather than discovered on screen. You can sense Raimi’s mischief trying to peek through, yet the film keeps choosing “safe” over “alive.” | © Walt Disney Pictures

For Love of the Game 1999 cropped processed by imagy — 15. For Love of the Game (1999)

This is the Raimi outlier that makes you do a double take, because the style is mostly in check and the vibe is straightforward studio sentiment. *For Love of the Game* has a calming, end-of-an-era baseball mood, and when it leans into the rhythm of the night and the pressure of every pitch, it works. The romance, though, can feel prepackaged – more like a highlight reel of relationship beats than something messy and real. You’ll find moments to like, but it doesn’t have that unmistakable “only he would do it like this” charge. | © Beacon Pictures

Crimewave 1985 — 14. Crimewave (1985)

Imagine a Looney Tunes fever dream trying to wear a noir trench coat, and you’re in the ballpark here. The gags come fast and loud, the tone keeps sprinting, and the movie rarely pauses long enough to build momentum beyond sheer volume. There are flashes of the later Raimi instincts – physical comedy that’s genuinely inventive – yet they’re buried under bits that feel more frantic than funny. Somewhere in the middle of all that chaos, *Crimewave* becomes less “wild ride” and more “endurance test.” | © Renaissance Pictures

Cropped Doctor Strange in the Multiverse of Madness — 13. Doctor Strange in the Multiverse of Madness (2022)

Raimi’s fingerprints are all over the best parts: the horror-leaning imagery, the cruel little punchlines, the set pieces that actually feel directed instead of assembled. The trouble is the story lurches from moment to moment, like it’s speed-running character decisions just to get to the next visual swing. When it’s on, it’s stylishly nasty; when it’s not, the emotional logic is shaky and the tone whips around hard. It’s never bland, but it is uneven, and that’s the central frustration of *Doctor Strange in the Multiverse of Madness*. | © Marvel Studios

Spider man 3 bryce dallas howard cropped processed by imagy — 12. Spider-Man 3 (2007)

What saves this movie from collapsing under its own clutter is that it still cares about Peter’s pride, grief, and the temptation to take the easy way out. The action has punch, the sincerity is still there, and the film’s best dramatic beats feel genuinely personal even when the plot gets crowded. Yes, it’s overloaded – too many villains, too many detours, and a couple of infamous comedy choices that play more awkward than iconic. *Spider-Man 3* is messy, but it’s messy with personality, and that counts for something. | © Columbia Pictures

The Gift 2000 cropped processed by imagy — 11. The Gift (2000)

Moody, grim, and surprisingly restrained, this is one of the times Raimi proves he doesn’t need fireworks to get under your skin. *The Gift* lets small-town cruelty and suspicion seep into every scene until the whole place feels contaminated, and the tension builds without cheap tricks. The supernatural thread is present, but the human ugliness is what really does the damage, helped by a cast that commits to the nastier edges. It’s not flashy, it’s not comforting, and it’s better for it. | © Lakeshore Entertainment

The Quick and the Dead 1995 cropped processed by imagy — 10. The Quick and the Dead (1995)

*The Quick and the Dead* has a killer premise – gunfights staged like ritual duels – and you can feel Raimi itching to turn a western into a live-action comic book. The problem is that the movie’s bravado sometimes plays louder than its characters, so the style ends up doing a bit more work than the drama. It’s packed with big faces, big speeches, and big “look at this shot” energy, which can be a blast or a strain depending on your mood. When it’s cooking, it’s wildly entertaining; when it stalls, it feels like a showcase searching for something deeper to hold onto. | © TriStar Pictures

Send Help 2026 cropped processed by imagy — 9. Send Help (2026)

Two people on an island is a simple hook, and *Send Help* gets real mileage out of the shifting power dynamic between its stranded coworkers. It’s at its best when it leans into Raimi’s nastier sense of humor – panic, resentment, and petty cruelty turning survival into a weird workplace war without HR. Not everything lands: some tonal pivots can feel abrupt, and a few beats play like they’re sprinting to the next escalation instead of letting tension simmer. Still, the movie has a pulse and a mean streak, and it’s hard not to enjoy how confidently it commits to being uncomfortable. | © Raimi Productions

The evil dead 1981 msn — 8. The Evil Dead (1981)

The first time you watch it, you don’t just notice the scares – you notice the audacity, because the filmmaking is practically snarling at the camera. *The Evil Dead* is grim, scrappy, and relentlessly unpleasant in a way that makes later, slicker horror feel almost polite by comparison. The acting can be rough around the edges, but the movie’s nerve is the real star: the pacing keeps tightening, the imagery gets nastier, and the violence never feels like it’s trying to be cute. Even when it’s crude, it’s inventive, and that raw ferocity is exactly why it still matters. | © Renaissance Pictures

A Simple Plan 1998 — 7. A Simple Plan (1998)

Greed doesn’t arrive as a villain speech here – it creeps in like cold weather, and suddenly everyone’s making choices they swear are “just for now.” *A Simple Plan* is one of Raimi’s most controlled films, and that restraint makes it feel even more brutal as the situation curdles from bad to worse. The tension comes from watching decent people rationalize the next lie, the next cover-up, the next irreversible step. It’s not flashy, it’s not loud, and it doesn’t offer easy catharsis – just consequences that tighten like a noose around A Simple Plan. | © Paramount Pictures

Darkman 1990 cropped processed by imagy — 6. Darkman (1990)

This is where Raimi’s love of pulp and tragedy clicks into something that feels genuinely singular: nasty, stylized, and weirdly heartfelt under all the screaming. The movie lives in heightened comic-book logic – big emotions, bold visuals, villainy that’s almost operatic – and it sells that tone with total conviction. It’s not perfect; the story can lurch, and a few moments are more cartoon than chilling, but Darkman’s identity is never in doubt. If you want the bridge between his early horror chaos and later studio-scale showmanship, you can practically see it being built here. | © Universal Pictures

Spider Man 2002 — 5. Spider-Man (2002)

Bright, earnest, and occasionally a little too squeaky-clean, this one wears its heart on the suit. The character stuff still plays: Peter’s choices feel personal, the guilt is clear, and the movie actually slows down to let emotions breathe instead of sprinting to the next set piece. A few moments drift into melodrama that’s more charming than sharp, and some early-2000s edges show, but the foundation is rock-solid. *Spider-Man* remains a sincere blockbuster that never forgets the person under the mask. | © Columbia Pictures

Evil Dead II cropped processed by imagy — 4. Evil Dead II (1987)

The cabin chaos gets rebuilt into something tighter, louder, and way more unhinged, with horror and slapstick welded together like it’s the most natural pairing in the world. *Evil Dead II* runs on precision – every shriek, pratfall, and splatter beat is timed like a stunt show designed by a gremlin. It’s not trying to be “deep,” and it doesn’t need to be; the craftsmanship is the point, along with the sheer audacity of the escalation. The movie keeps finding new ways to make you laugh and wince at the same time, and it barely gives you a second to recover. | © Renaissance Pictures

Drag Me to Hell 2009 cropped processed by imagy — 3. Drag Me to Hell (2009)

Mean, gleeful, and gross in ways that feel handmade rather than cynical, this is Raimi flexing his “laugh while you gag” muscle at full strength. The set pieces don’t just stack – they *compete*, each one trying to outdo the last with nastier imagery and punchier timing. Some people bounce off the moral nastiness, because the movie plays unfair on purpose, but that cruelty is part of its identity. It’s a horror ride that commits to being a little ugly and a little funny, and that commitment is exactly why *Drag Me to Hell* sticks. | © Ghost House Pictures

Spider Man 2 2004 cropped processed by imagy — 2. Spider-Man 2 (2004)

Peter’s life here isn’t “complicated” in the vague Hollywood way – it’s tiring, embarrassing, and relentless, and the film milks that pressure until the superhero moments feel earned. The action is fantastic, sure, but the real strength is how brutally it sells the cost of trying to be good when everything around you is falling apart. The villain story hits because it’s tragic without being soft, and the emotional beats land clean because they’re played straight. Few sequels balance spectacle and soul this well, and *Spider-Man 2* makes it look effortless. | © Columbia Pictures

Army of Darkness 1992 cropped processed by imagy — 1. Army of Darkness (1992)

This is Raimi letting the “serious” part of horror wander off into the woods so the comedy can drive the car, and the result is pure, swaggering fun. The tone is huge – skeleton armies, slapstick violence, one-liners delivered like they’re cannon fire – and somehow it all holds together because the movie knows exactly what it is. You lose some of the genuine menace from the earlier films, but you gain an adventure rhythm that never drags and a lead performance that could power a whole genre by itself. The most crowd-pleasing version of the Raimi machine lives inside *Army of Darkness*. | © Renaissance Pictures

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From scrappy splatter to blockbuster spectacle, Sam Raimi’s filmography is a rollercoaster of camera-whip energy, pitch-black laughs, and genuine affection for the weird. He’s made cult horror staples, superhero touchstones, and the kind of studio thrill rides that still feel unmistakably “Raimi” in the corners.

So where does Send Help fit into that legacy – especially if it leans into the survival-horror chaos people are hoping for? We’re ranking every Sam Raimi movie from bottom to top, weighing the scares, the style, and the staying power, then spotting exactly where Send Help could land once it joins the lineup.

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From scrappy splatter to blockbuster spectacle, Sam Raimi’s filmography is a rollercoaster of camera-whip energy, pitch-black laughs, and genuine affection for the weird. He’s made cult horror staples, superhero touchstones, and the kind of studio thrill rides that still feel unmistakably “Raimi” in the corners.

So where does Send Help fit into that legacy – especially if it leans into the survival-horror chaos people are hoping for? We’re ranking every Sam Raimi movie from bottom to top, weighing the scares, the style, and the staying power, then spotting exactly where Send Help could land once it joins the lineup.