A new subgenre of sci-fi horror has emerged to coincide with the increasing use of AI in everyday life, engaging with anxieties about what this technology can do if unregulated. Companion (2025) further engages these anxieties, exploring an emotional support robot (Sophie Thatcher) and her growing sentience as a tragic event befalls a weekend trip. While an important sci-fi horror film in its own right, Companion has significant feminist underpinnings that work best when it embraces its near-futuristic worldbuilding.
Produced by Zach Cregger, Companion follows suit to the Barbarian (2022) director’s sensibilities by understanding its absurdity. Iris (Thatcher) does not quite understand she’s a robot; all she knows is she loves her boyfriend Josh (Jack Quaid) and will do anything for him. These situational moments are funny in a peculiar way, which writer/director Drew Hancock uses to further the film’s themes about technology’s advancements. Thus, the film takes a basic android premise and engages with complex social themes. The character work with Iris, in particular, dives into her meaning to other people as well as her own meaning within the context of her existence. Hancock distinguishes himself from his television roots by crafting a witty and timely script about what happens when man and machine begin to blend into each other.
At times, the script is too thinned out to foster a connection with its characters, but the sharp direction and social commentary make up for it. This is a world where robots can be romantic sexual partners, and the anxieties around such an idea are closer and closer to reality. Companion considers the consequences of these technological innovations and how men perceive women as objects. Iris is an object to her human counterparts, who are often uncomfortable around her because she is owned by Josh. Hancock surprises with his timely feminist commentary with a smart (albeit sometimes sparse) script.
Companion is further aided by its hilarious and clever performances. Thatcher is a perfect choice for Iris, with her costuming and demeanor perfectly encapsulating a doting girlfriend with a sinister secret. Quaid is just as phenomenal, exploring male insecurity and the need to control those around him. In his second antagonistic stint (his first being 2022’s Scream), he has officially proven his range extends past cute boyish charm. Rounding out the rest of the cast are Megan Suri, Harvey Guillén, and Lukas Gage, who all bring their own comedic talent as Iris grows increasingly unstable. The cast has stellar chemistry together, playing off one another with humor and charm.
As a sci-fi horror film about technology and an important piece of modern feminist cinema, Companion is a significant addition to the AI subgenre of science fiction. Iris’s existence alone questions how men perceive women. When a romantic robot is programmed to follow orders for the person it is “dating,” what does that say about that person? Josh has complete control over Iris, from voice commands to her inability to lie. When she gains sentience and questions her place in the world, Josh’s first instinct is to try to shut her down and throw her away. The moral implications of Iris only existing for Josh’s gratification speaks volumes to men’s entitlement to women whereas women are continuously expected to prioritize what men think of them.
What makes Companion so memorable is how it refrains from revealing the plot until the end of the first act. This strategy is similar to Barbarian’s structure, but Companion falls short with the failed marketing; the second trailer spoils the entire premise. Holding back the android premise until the film’s release would have given the film the punch it needed to become so much more talked about, but many (myself included) felt as if the entire plot had already been shown to us. Despite these marketing qualms, Companion itself withholds information about Iris’s true nature to incorporate suspense.
Companion is an important film for the social landscape and a surprisingly funny sci-fi horror. While the script can fail to explore some of its characters in full detail, it still cements itself as relevant due to its cast’s performances and chemistry when coupled with Hancock’s witty direction. With the news that Hancock is confirmed to be writing a remake of The Faculty (1998), it is clear that this new voice can use science fiction and situational comedy to comment on real-world anxieties.
Review Courtesy of Nadia Arain
Feature Image Credit to Warner Bros. Pictures via Awards Radar