Companion (2025) – Film Review

Companion is a 2025 American science fiction thriller that marks Drew Hancock’s directorial debut.

Warning: Spoiler Alert

Produced by Zach Cregger (Weapons), Roy Lee, Raphael Margules, and J.D. Lifshitz, the film stars Sophie Thatcher (Heretic) and Jack Quaid (Novocaine)

The story unfolds during a weekend retreat at an isolated lakeside estate where a group of friends gathers. The film takes a wild turn when we discover one guest is a companion robot. From there, it dives deep into questions about control, toxic power dynamics in relationships, and the ethical minefield of advanced AI technology.

Hancock originally wrote this as a “calling card” script to break into genre filmmaking after working in television comedy. What started as a portfolio piece evolved into a major production under the team behind 2022’s horror hit Barbarian.

The script went through significant changes. Initially, it followed a predictable “killer robot goes haywire” storyline. Hancock smartly pivoted to tell the story from the robot’s perspective, transforming it into a powerful metaphor for abusive relationships.

The filmmakers prioritized authenticity by using practical effects rather than CGI wherever possible. The robot hand sequences, for example, used a physical puppet that was only digitally enhanced.

For a first-time feature director, Hancock shows remarkable control over a complex, genre-blending narrative. What impressed me most was how he handled the film’s “execution-dependent” premise with the confidence you’d expect from a seasoned filmmaker.

He skillfully mixes sci-fi, psychological thriller, and dark comedy. He uses quick “smash cuts” to jump between tense scenes and funny moments, which keeps you surprised and engaged throughout the film.

Working with cinematographer Eli Born, he created widescreen compositions with “Barbie-bright” colors that create a contrast against the film’s brutal violence. The frequent close-ups on Sophie Thatcher‘s face capture every subtle shift in her performance.

At a tight 97 minutes, the film maintains “hair-trigger” suspense throughout. Hancock deliberately leans into clichéd rom-com tropes—like the staged “meet-cute”—to make the darker reality hit even harder when it’s revealed. This tonal manipulation extends to the ironic soundtrack, which deserves special mention. Songs like The Turtles‘ “You Showed Me” create unsettling juxtapositions during violent or pivotal scenes that amplify the emotional impact.

Thatcher’s performance as Iris is, hands down, the film’s greatest asset. This feels like a career-defining role.

Her ability to balance “manic pixie” vulnerability with an uncanny, unsettling quality is extraordinary. The technical precision she brings—like crying from one eye on command or maintaining a stiff, measured gait that hints at her robotic nature—shows serious craft.

What really struck me was how she shifted her performance as Iris gained autonomy. She starts with a smooth, artificial tone that gradually drops to her natural voice as the character literally and figuratively “finds her voice.” Thatcher navigates an incredible emotional range, moving seamlessly from docile devotion to raw, visceral rage

Jack Quaid deserves credit for fully committing to making Josh deeply unlikable. The character is frustrating because of the extreme power imbalance he maintains. He treats Iris as a plaything for his ego rather than a partner. He gaslights her constantly—there’s a dinner scene where he completely dismisses her stories that is physically uncomfortable. The scene where he sadistically forces her to hold her hand over a flame is genuinely hard to watch.

He leans into the character’s pathetic, feckless nature without trying to soften it. It’s a brave performance that makes the film work.

The film brilliantly reframes the “killer AI” trope as a metaphor for domestic abuse and psychological control. Josh doesn’t treat Iris as a partner but as a “companion unit” he can command and program—mirroring how toxic partners attempt to manipulate and control their significant others.

Iris’s journey is about reclaiming her narrative. Her decision to upgrade her own intelligence and literally peel off her synthetic skin serves as a visceral metaphor for shedding the expectations and roles imposed by a controlling partner. It’s both literal and symbolic in powerful ways.

The visual symbolism reinforces everything. Iris’s 1950s-inspired “Stepford Wife” wardrobe represents the traditional, subservient gender roles Josh forces her to inhabit.

Some have found the handling of toxic masculinity occasionally blunt or lacking in subtlety. Others felt the movie prioritized entertainment and slasher-style thrills over deeper philosophical exploration. I found the balance mostly effective, though I can see both perspectives.

Many found the plot highly predictable, especially if they watched the trailer, which was a major mistake by the marketing team. The trailer spoiled the film’s major twist, robbing the first act of its intended mystery.

The last third is where the film falters most. Several sequences feel rushed, and it devolves somewhat into a generic slasher finale that loses the psychological tension that made the first half so compelling.

The film relies on some overly convenient plot turns, particularly during the climax. Iris’s actions during the final escape don’t always track logically, even though she supposedly has her intelligence settings maximized.

Despite these flaws, several elements elevate the film wonderfully. The tonal balance between disturbing psychological tension and dark humor is expertly handled.

Companion is an impressive directorial debut that delivers a smart, entertaining thriller with real substance beneath its genre trappings. While it stumbles in its final act and occasionally leans too hard on its messaging, the film succeeds on the strength of Sophie Thatcher’s phenomenal performance, Drew Hancock’s confident direction, and its willingness to tackle uncomfortable themes about control, abuse, and toxic masculinity.

It’s not perfect, but it’s bold, original, and engaging throughout. For a first feature, Hancock demonstrates remarkable control and vision. I’m genuinely excited to see what he does next.