Sam Raimi returns with this CASTAWAY horror silliness…

The welcome return to horror from EVIL DEAD director Sam Raimi marks his first time behind the camera since putting office worker Alison Lohman through the mill in 2009’s DRAG ME TO HELL. Long-time fans can rejoice, as many of his signature moves are back on show — even if they do push the narrative into full silliness by the final act.

That’s not to say it isn’t enjoyable. SEND HELP may be sold as a horror film, with the poster showing a bloodstained Rachel McAdams in a menacing pose, but its toes are firmly dipped into the blackest of comedies — with, of course, flashes of Raimi-style horror to appease his fanbase.

The always delightful McAdams is the star of the show, carrying the entire premise on her shoulders. Beyond the crashing waves, her character Linda — an unpopular office worker due to her geeky outlook and love of fish sandwiches — is the one doing most of the important work for the company. Outside of work, her social life consists of sitting on the sofa, dreaming of appearing on the new Survivor TV show, and talking to her pet bird.

Despite being promised a promotion by his father, Linda is passed over by the new CEO, Bradley, played by Dylan O’Brien — a suit-wearing, sexist, charmless, privileged figure more concerned with playing golf and socialising with his colleagues than actually understanding the job. Despite taking an instant dislike to Linda, he still invites her to an important corporate meeting. During the flight, he and his friends make Linda the butt of the joke — but the smiles soon disappear when the plane is hit by severe turbulence, eventually crashing into the depths of the deep dark ocean.

Both Linda and Bradley wash ashore on a small island — think Tom Hanks in Cast Away — where the roles are quickly reversed. Linda’s research into survival proves vital, and it begins to feel like a twisted version of a classic ’90s romcom, where the “plain girl takes off her glasses.” Linda, once ridiculed for something as trivial as a bit of tuna on the side of her mouth, blossoms into a capable, dependable woman — finally noticed, and thriving in this new world.

Of course, Bradley looks on in denial. “So, she can build a hut out of twigs? I can do that!” — except, obliviously, he can’t. The film finds plenty of humour in these moments, as we side with Linda, relishing her chance to put this obnoxious man firmly in his place with wicked glee.

Anyone hoping for a 2026 remake of Six Days, Seven Nights will need to look elsewhere. While the film hints at a romantic subplot, Raimi flips expectations, delivering instead a stand-off between the two that eventually morphs into a Tom and Jerry-style bout of violence — complete with the occasional mouthful of vomit. Bizarrely, yet delightfully, you begin to question whose side you’re actually on.

In all its harmless fun, the film is let down slightly by some questionable CGI, which makes you pine for the early practical work of Raimi. His overuse of digital effects is a crying shame — but it’s only a minor grumble in a film that once again showcases the wonderful talent of McAdams. It’s a Mean Girls return — only this time with a knife and a hunt for a wild boar…

3.5 Hatchets out of 5