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Female robots in movies have been around almost as long as robots have been a thing. The first recorded use of the word itself was in Czech writer Karel Čapek’s 1920 play Rossum’s Universal Robots (which was two years after an humanistic ‘automaton’ was featured in the Harry Houdini film The Master Mystery) and it was then only 1927 when Fritz Lang released Metropolis famously introducing the C3P0esque Hel/Maria to the sci-world. Since then there have been numerous replicants and fembots, AF 709s, Galxinas, bikini machines, T-Xs, Number 6s, 7 of 9s, Delores, Avas and Stepford Wives. It’s not a new idea. 

The fact that we are even talking about this in relation to Companion might be a bit of a spoiler because the film sets up the truth about Sophie Thatcher’s Iris as a reveal but it is heavily signposted from the start (moments this knowledge means you can enjoy without a rewatch), as well as being strongly indicated on the poster and openly stated in the trailer. It doesn’t matter so much though as that is not really what the movie is about and there are still surprises in store. This is also why it’s not a problem that it is part of such a long cinematic legacy.

As well as giving away this potential twist, the marketing also leans in to the connections the film has with 2022’s twisted domestic horror Barbarian. It says it is from the creators of that movie which might be a little misleading because in reality it just has the same producers, one of who also wrote and directed Barbarian. The promos also link it to Gosling and McAdams’ romance The Notebook which is very tenuous because the two films just both come from Warner Brothers. They might as well mention Harry Potter, All the President’s Men or Calamity Jane; the studio has a pretty long and eclectic slate. They are clearly trying to push it as some kind of dark love story. It’s not really that either though. 

In terms of how it plays with previous sub genre conventions (and we only have the sci-fi ones as it is not in fact even slightly a horror or a relationship drama) it is most reminiscent of HBO’s West World. In that and this, the once controlled android literally takes control of herself using the means of power and command to her own advantage.  In the end is actually more relatable to Ex Machina though because it shares that movies sense of metaphor. Alex Garland’s brilliant 2014 film has a female robot turning the tables (the fact that Iris also does this here is not a spoiler, it is part of the opening monologue) but it was actually examining wider arrogant male manipulation of women. Companion also has this theme, in this case specifically in the context of abusive relationships. This, it turns out, is what it is about. In that sense it might sit most comfortably alongside things like Don’t Worry Darling and Blink Twice, using futuristic concepts to explore contemporary chauvinistic issues. 

Unlike Alice, Darling and Woman Talking, which similarly tackle misogyny in real world settings, the feel here is not oppressive. The genre trappings make it more of a caper. They balance this well though and the serious undertones are never handled in a way that are trite or disrespectful. After a hundred and thirty years of cinema it is hard to be totally original but Companion is a good example of how it can still be fun and important. The plot, characterisation and setting are all good and the performances are great. Thatcher is the standout with her portrayal of a ‘woman’ ‘programmed’ to love a man but realising she is not his ‘property’. Jack Quaid plays the toxic male and his Josh is similarly layered and interesting. Around them are other engaging players and giving quite a notable extended cameo is Rupert Friend who probably sets the tone more than anyone. 

Wherever it fits in the pantheon of film then Companion is a very satisfying night out at the movies. It has aspirations to be talked of in the same breath as Promising Young Woman but while it doesn’t quite earn this, it is an ambition it wears well without ever succumbing weight of all of the many films it more closely compares to.