Sam Raimi is back with this violent black comedy scripted by Damian Shannon and Mark Swift, set on a desert island where two plane-wreck survivors are facing off. It’s a movie whose entertaining initial premise and shrewd satire are finally damaged by Raimi’s need to juice everything up with spurious “horror” flourishes for the fanbase, on-brand gore eruptions that aren’t really scary and undermine the film’s believability, turning everything into silliness. The poster and promotional materials promise a “horror” film, but that isn’t really what this is. But what is it? Well, it’s a desert island parable that owes something to JM Barrie’s The Admirable Crichton and to … how to say it? … other dramas. No spoilers, but Raimi appearing to borrow from a recent Cannes Palme d’Or winner was not, as they say, on my bingo card.
Rachel McAdams plays nerdy Linda Liddle, a single woman living alone with a caged bird. She’s devoted to her job. She is an extremely smart researcher in a corporation, but is passed over for promotion by the charmless misogynists running the firm: useless, untalented males in Patrick Bateman suits who depend on her work. Chief among these odious sexists is new CEO Bradley Preston, played by Dylan O’Brien, a vacuous smoothie and nepo princeling whose late father, the company founder, valued Linda enough to promise her a VP position – a promise on which the hateful Bradley now smugly reneges.
He and his ghastly bros mock and humiliate her, especially her ambition to be on a top-rated “survivor” TV show. They find her audition footage online – which shows how skilful she is at bushcraft, making fires and shelters, etc – and giggle over it. But they can’t avoid bringing Linda with them for a business conference in Thailand on the firm’s private jet, and when this crashes on a remote island in a storm, with the only survivors being gutsy, capable Linda and spoiled alpha-idiot Bradley … well, guess who the boss is now?
It’s a time-honoured and perfectly enjoyable setup, and the first act, when the new reality dawns on clueless Bradley, is watchable. But the plot twists are derivative and the action then becomes dependent on weird stabs of grisliness that are not convincing or consistent with the characterisation. By the end, it’s exasperating – but McAdams delivers a solid performance.
