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I finally understand the twist. Twists for the sake of twists are essentially just short dramas, the same formula used in those anthology series of the last decade or so, especially those anthology horror films: a so-called main plot, a few ideas, whether plausible or not, haphazardly churned out, and when the story runs out of steam, there's no need to think about what to do; just move on to the next story, piecing together 80 minutes, and then hastily putting together an ending for the so-called main plot. This work follows the same formula: first, a ten- or twenty-minute workplace drama, then a Robinson Crusoe story that has little to do with what came before, using the twist to extend the runtime for another twenty minutes, and then it starts to run out of steam. Of course, you could argue that the foreshadowing of the knife was quite good, but anyway, it just throws in another ridiculous twist, stumbles into the third act, and then cobbles together another ten minutes of a completely disconnected house-breakup fight, and that's it. If each segment were done like the one in *VHS*, with completely different actors performing their own short plays, ensuring a few people die in each play, enough to reach 90 minutes, then tickets would sell. Workplace bullying? American slashing line? New female power? Imagine what you want—how wonderful, right? Just the genital-cutting scene alone could support a bunch of movie analysis and marketing accounts.

I'd give it at least an 80 out of 100. The plot is unlike anything I've seen elsewhere, and I couldn't have guessed it either. The fact that the two didn't become a couple on the deserted island is interesting. But I think the guy is just a rich second-generation heir who only cares about skincare, maintenance, and pleasure; he doesn't even understand basic self-interest. The female lead is an asset to him, not a burden, so there's no need for him to harm her. Even knowing she killed his girlfriend, a smart guy would have seized the opportunity, expressed his trust in her and said he didn't mind, and shouldn't have even exposed his girlfriend's murder. The important thing is to discuss returning to the real world together, not to be on this deserted island, in a vulnerable position, thinking about revenge. Therefore, even if he inherited his father's company, it definitely won't last long. Thinking back to his time at the company, he was too petty, disliking the female lead over a little tuna. He completely ignored her talent. Furthermore, I'm a little confused about the female lead's purpose. Did she want to build a relationship with the male lead, or even develop some chemistry, so she could regain her VP position later? I don't think she had any reason to kill the male lead's girlfriend and the people he rescued. The screenwriter might have intended for the female lead to have a controlling nature towards men because of her ex-husband, which might explain her reluctance to return to the real world. However, this is just my own speculation. Based on the plot, I feel she wasn't the murderer of her husband; it was her husband himself who insisted on driving under the influence. It had nothing to do with him. The female lead simply stopped loving him and refused to hide the keys to protect the husband who had hurt her. Judging from her expressions and tone, her husband likely raped her on the night of the car accident and his death. Therefore, I don't think the female lead did anything particularly egregious.

After watching "Request for Rescue," I was blown away! This isn't just about survival on a deserted island; it's a hilariously absurd comedy about office workers reaching their breaking point. It vents the frustrations of those who torment themselves in the most outrageous and comical way, resonating deeply with viewers. The female lead is the epitome of a "tool" in the workplace, always on the move, doing the hardest work, enduring the harshest criticism, never receiving a year-end bonus, and always the scapegoat. Her boss's attitude towards her perfectly mirrors our own workplace experience: used when needed, discarded when finished. Her presence in the company is weaker than air; even the boss avoids her—a complete workplace invisible person. What started as a tragic plane crash turns out to be a harsh blow from fate to the workplace. The boss, usually aloof and authoritative, transforms into a helpless "giant baby" on a deserted island, unable to even get a drink of water without the female lead. Meanwhile, the exploited heroine, with her exceptional survival skills, transforms the island into her domain, completely reversing their roles! In a typical script, the boss would be expected to weep and apologize, returning to offer her a promotion, raise, and stock options? Not at all! The movie does the exact opposite, maximizing absurdity. When the boss's girlfriend arrives with a group to "steal his thunder," the heroine swiftly eliminates them all, then engages in a brutal desert island showdown with her former boss, ultimately killing her enemy and becoming a bestselling author with her "Desert Island Survival Guide"! This outrageous yet hilarious plot perfectly captures the dark humor of the working class: the workplace is never fair; honest people are always bullied, so why not go all out? No need to please the boss, no need to endure grievances; if you ignore my efforts, I'll sever all ties and live for myself. In reality, we can't go to such extremes; we can only indulge in that in movies. This absurd, extreme retaliation provides the working class with the spiritual opium they desperately need. After all, once they sober up, they still have to grovel and rely on their bosses' charity to pay off their mortgages and car loans!

Rachel's madcap performance stunned the audience! A disguised version of *Evil Dead*, the evil spirit is no longer a clear supernatural ghost, but rather a malevolent thought released from the shadows of workplace class and gender antagonism in an extreme wilderness, arising from the imbalanced relationship between the male and female protagonists. This evil spirit teases, entices, and controls them back and forth. The career woman, obsessed with survival in the wilderness, is obsessed with a hierarchical reconstruction based entirely on her own experience in an anarchic world, while the incompetent, wicked boss yearns to return to civilized society and reclaim his dominance. In reality, it's a struggle between two extreme world "monsters." The evil originates from within; under the increasingly distorted and powerful "evil spirit" within them, the two deceive, torment, conquer, and destroy each other. Sam Raimi guides this familiar game of torture step by step, gradually opening the classic *Evil Dead* performance mode: gushing vomit, torn scalps, subjective high-speed camera movements through the jungle, blood-stained, crazed faces, and cruel black humor. What's truly chilling is the ending after the climax and plot twist. Behind the heroine's fame and fortune, the real victory probably lies in her inner demons, and the next "fall into hell" may be about to begin.

It's funny, a nostalgic blend of 90s humor, madness, and drama, a mix of fantasy and darkness. While leaning more towards comedy-thriller, it's brimming with Sam Raimi's dark humor, interspersed with occasional horror elements and scare scenes, and plenty of blood. The plot is driven primarily by the constantly shifting relationships and statuses of the characters, with vivid and memorable character designs and unexpected twists keeping the story fresh, culminating in a major plot twist at the end. Workplace and gender issues are also quite intriguing within this extreme setting. Rachel McAdams' performance is absolutely insane—a huge plus!