Companion (2025) Review
Not so long ago, artificial intelligence was more of a sci-fi punchline than a powerhouse. Robots were clunky, glitch-prone and about as emotionally intelligent as a toaster. They were exceedingly unimpressive, tripping over their own circuits, while repeating themselves like broken records. They gave us a glimpse of a future that always seemed just out of reach- while reassuring us that the robot uprising was at least a few centuries away.
Then, seemingly overnight, AI levelled up. Gone are the days of mechanical goofballs- today’s AI can chat, create and even mimic human emotions with eerie precision. It’s evolving at a pace that makes Moore’s Law look sluggish. What once felt like the distant future is now at our doorstep, knocking- perhaps a little too confidently.
Once, this was the stuff of sci-fi horror. Now, it’s a frightening reality. Drew Hancock’s darkly comic ‘Companion’ taps into these anxieties, spinning them into a nightmare that might be closer than we think. It centres on Iris and her boyfriend Josh, who are spending a weekend getaway with some of his friends at the home of a Russian billionaire. Soon, events take a dark, unexpected turn; and none of their lives will ever be the same again.
It must be said upfront that the film suffers from one of the most spoiler-heavy trailers in recent memory. Much like the ones for 2024’s ‘Abigail,’ it divulges far too much of the plot, undercutting moments that would have otherwise been shocking. Again and again throughout the film, scenes meant to be surprising lose their edge when you already know what’s coming. While ‘Companion’ still manages to build tension in other ways, one can’t help but wonder how much more effective it would have been had the marketing held back.
It is a shame, as, despite that, the film is suspenseful and entertaining. A little like the cinematic love-child of ‘The Stepford Wives’ and Spike Jonze’s ‘Her,’ it is a delightfully dark trip from start to finish. Hancock has a good ear for dialogue, and his central two characters are believable creations. In addition, interesting themes are explored, such as empowerment, the complexities of relationships and the blurred line between technological convenience and human dependence.
The film explores how people seek connection, the ways in which technology fills emotional voids and the unsettling possibility that, at some point, we may no longer be able to distinguish between real intimacy and artificial affection. It also examines the ways in which AI, designed to serve and assist, can just as easily manipulate, control or replace human agency entirely. The film raises questions about autonomy- how much control we truly have over our own lives when technology becomes deeply ingrained in our daily existence.
At its core, however, the film is a story of female empowerment. The film follows Iris, a woman navigating oppressive dynamics, whether they be in her relationship with Josh or within a broader system seeking to control her. Hancock’s narrative explores the idea of breaking free- not just from AI-driven manipulation, but from toxic relationships that strip women of their independence. Iris- as well as Kat, the other female character- is not just a victim of circumstance; they are active participants in reclaiming their agency, making choices that challenge the forces trying to confine them.
Yet, while the film is thematically rich and often gripping, it isn’t without its flaws. Beyond the aforementioned issues with the trailers, the film isn’t exactly unpredictable. Even without prior knowledge of the plot, many of its twists feel telegraphed, especially for seasoned genre fans. Additionally, some secondary characters come across as caricatures rather than fully realized individuals, which lessens the emotional impact of their fates. Given the strength of its themes, a little more narrative unpredictability and character depth could have elevated ‘Companion’ even further.
Visually, the film is just as striking as it is thematically compelling, boasting a sleek, polished aesthetic mirroring its exploration of technology’s grip on human lives. Eli Born’s cinematography plays a crucial role in establishing mood and tension, with sharp, precise framing often isolating characters, reinforcing themes of control and surveillance. The lighting choices are equally effective, contrasting cold, artificial tones with warmer, more natural hues to reflect the struggle between human connection and technological dominance.
Moreover, Scott Kuzio’s production design further amplifies the film’s themes, with sleek, minimalist interiors feeling both luxurious and unnervingly sterile- environments that seem designed more for observation than comfort. In addition, Brett W. Bachman and Josh Ethier’s editing is tight and purposeful, maintaining a brisk pace while allowing tension to simmer in quieter moments. Complementing all of this is the score from Hrishikesh Hirway, which pulses with an eerie, electronic undercurrent of unease. He also makes great use of songs from the likes of Labi Siffre and The Turtles, among others.
At the heart of the film is a standout performance from the lead, Sophie Thatcher, as Iris. She brings a palpable sense of vulnerability and strength to the role, capturing Iris’s internal conflict as she navigates the oppressive forces in both her relationship and the world around her. There’s an authenticity to her portrayal of a woman slowly realizing her power- her nuanced performance elevates the emotional stakes, especially in scenes where Iris battles between autonomy and submission.
Jack Quaid is similarly good as Josh, playing a character whose outward “nice guy” persona hides more complex and troubling layers. Quaid subtly explores the tension between Josh’s surface-level charm and the insecurity and control he struggles to conceal. Lukas Gage and Megan Suri both do strong work as Patrick and Kat, two of Josh’s friends, even if their characters lack depth. Furthermore, Rupert Friend is terrific as Sergey, the Russian billionaire, clearly having a ball with the material and character.
In conclusion, Drew Hancock’s ‘Companion’ is an entertaining, if not particularly unpredictable, dark-comedy. Although it might want for unexpected moments, and some of the secondary characters lack depth, Hancock’s narrative is engaging, and his exploration of the themes therein are compelling. Boasting fine cinematography, as well as a stirring score and terrific performances- especially those of Sophie Thatcher, Jack Quaid and Rupert Friend- ‘Companion’ is a timely reminder that, while we may fear AI, it’s really humans we should watch out for.