Starring Rachel McAdams and Dylan O’Brien, this gets off to a promising start, but the plot twists are derivative and the tacked-on violence descends into exasperating silliness

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.

The latest in our series of writers picking their go-to comfort films is a tribute to Amy Adams and what might be her greatest performance

Much is often made of Amy Adams’ “always the bridesmaid” Oscar record, as she’s yet to claim a win from six nominations. While this is egregious for an actor of her calibre, the bigger snub is that she wasn’t even nominated for her best performance yet. Enchanted’s Giselle introduced Adams to a mainstream audience and was possibly considered too frivolous for Academy tastes, but her pitch-perfect take on a real-life Disney princess is a masterclass in full-bore commitment, and the gravitational force around, which this winningly charming Disney film revolves.

I was instantly won over by Enchanted on its 2007 release, but having since revisited it many times (including with my own kids), I’m convinced it’s close to a platonic ideal of family-friendly feelgood viewing, and there’s been nothing in this vein that’s come close to matching it since (including, sadly, 2022 Disney+ sequel Disenchanted). It’s also so much better than the Disney’s many official live-action remakes.