top of page
COMPANION-RED.jpg

THATCHER IF YOU CAN

Companion (15)

Director: Drew Hancock
Screenplay: Drew Hancock

Starring: Sophie Thatcher, Jack Quaid, Lukas Gage

Running time: 97 minutes

Cinema release

Review: David Stephens

Most people agree that Zach Cregger’s Barbarian benefits from being seen if you have no idea where the central menace comes from, or whether Bill Skarsgård’s character can be trusted or not. There’s some lovely rug-pulling going on there, to the point that even today with it being on streaming channels and whatnot, if you don’t know much about the film, you can still see it without spoilers if you make the effort to do so. And so it is with Companion, which was originally going to be Cregger’s follow-up film to Barbarian, but production eventually led to setting up the project as the directorial debut of Drew Hancock (who also wrote the story and has a ton of TV work under his belt). However, Cregger remained as a producer and the studio is keen to draw on the links with that film. BUT … good luck with avoiding the all-important “twist” that makes itself known about a quarter of the way through the plot. I managed to avoid the second trailer (only watching it after seeing the movie) and that just waves the white flag and reveals it almost straight away. Even if you manage that, the new film poster pretty much ruins it and most reviewers have decided to not make the effort to conceal it. For the record, I will be hopefully vague enough not to upset spoiler-phobes. Starring Sophie Thatcher (definitely heading for big things after this and Heretic) and Jack Quaid (the heart of The Boys), this sci-fi/horror project has picked up some pleasingly good notices and some good early box office. So here’s what it’s (nearly) all about.

 

Starting with her voice-over, we’re introduced to Iris (a pitch-perfect Thatcher) as it segues into her a meet-cute with her boyfriend Josh (Quaid in a nicely layered performance). They seem like the perfect match and we soon catch up with them as they road-trip to a lake house to meet up with two other couples. There’s Eli (Harvey Guillen from What We Do in the Shadows) and Patrick (Lukas Gage), as well as Kat (Megan Suri) and Sergey (Rupert Friend… looking uncannily like Orlando Bloom in a bushy mullet!). Iris is keen to make a good impression on the gathered friends and wants to support Josh, although Kat remains somewhat disdainful of her presence and strangely aloof with her. Despite this, the slightly scummy Sergey takes an interest in Iris, which leads to some unfortunate occurrences and a dastardly plot which shows that true love is often blind, even in the future.

 

Does it matter if you know the “twist”? Well, it would add another layer of satisfaction to this enjoyably offbeat treat but don’t worry too much if you’ve already worked it out or had it spoiled. To be honest, the first few exchanges between some of the characters hold some heavy-handed hints that will clue you in anyway… but aside from that. Companion is good. Very good in fact, although it may not quite peak as high as you would expect judging from some of the rave reactions that it’s had. It does benefit from being well-written and having some great performances, as well as a take-it-or-leave-it-but-just-go-for-the-ride attitude that is refreshing in sci-fi/horror, an area of filmmaking that sometimes feels like it’s coerced into being po-faced and serious by the studios or directors. The beginning of the film points to a cult-ish experience with a mish-mash of technology presumably placing it in the near-ish future. AI driverless cars… but with CDs making a comeback somehow. You get the picture. The first few sequences do have a noticeably disturbing tone that feels close to Coralie Fargeat’s Revenge in context, especially with the uncomfortable figure of Sergey and the threats to Iris. But when we stumble over the “twist” threshold, the tone and level of humour changes. Still dark in places, but much more wacky in practice.

 

To put that into perspective, if the beginning smacks of a “she-venge” movie, the rest of it becomes something else entirely. Complete with “splatstick”, sight gags, great one-liners, and an inventively gory kill scene that could have come straight out of a slasher movie. Not to mention another one with someone literally getting their face punched off! To emphasise that point, there are a couple of superbly executed scenes which are entirely dependent on Thatcher’s hitherto unexplored comic timing, They involve a getaway in plain sight and the best excuse for a conversation to be held entirely in a random foreign language (German in this case). Because whilst there is darkness retained in the storyline (and some of the gasp-worthy deaths), there is a real sense of playfulness that enters the proceedings after the first blood-spattered death. It becomes a comedy of (t)errors with plans being made on the hoof and bad decisions leading to a makeshift body pit.

 

The main reason that this works as well as it does, is mostly down to the skills of the cast. Thatcher, as highlighted in many reviews, is terrific. From the subtle “tells” that she gives about her character (mannerisms, speech, etc.) to the strong independent streak that gradually evolves over a few hours, her performance is pitch-perfect. You’re absolutely in no doubt who you should be rooting for here, despite some of the events that happen. Quaid is also very good, as his character plays off his likeable persona most commonly seen in The Boys, although it is more closely aligned to the one he gives in Scream (2022). Here, his Josh plays the victim, manipulates others, thinks selfishly, and yet still states that he’s a “good guy” who deserves more out of life, making him naturally entitled to the adoration of Iris. Of course, as the story plays out, there’s plenty of scope to make what you want of the social commentary. There are clear references to abusive relationships, romantic manipulations, and general scum-baggery that are all too common in toxic entanglements. But at least you’re not beaten over the head with finger-wagging and you care about the characters (well, one character) too much to let that spoil things.

 

If truth be told, the film is perhaps not as wildly bizarre or as envelope-pushing as you might have been led to believe. Once the “big reveal” has been administered, the tone becomes less dark and veers more towards black comedy, using clever plot developments and unexpected twists to replace the potential feeling of dread. Characters react to events matter-of-factly and get over personal bombshells quite quickly. The people who surround Iris and Josh (bar one who has a great personal story arc) are entertaining but mostly superficial. There is also a wealth of sci-fi/tropes that are played with in ways that you might not expect. You’ll no doubt recall several classic moments from big-budget sci-fi actioners, especially if you stick around for the joyous mid-credit scene that teases an intriguing direction for one member of the cast at the end.  

 

It definitely will appeal to genre fans with its wicked sense of humour, keenness for gory violence, and astuteness about doomed relationships. Perfect Valentine/date movie until Heart Eyes I’d say. Again, it’s a shame that not many people will see it without being aware of the “twist”, but the entertainment in the story and depth of Thatcher’s characterisation is deserving of the experience in itself. Potentially add at least another ½ star to the rating if you’re savvy enough to go in “cold”. Interesting to note (without giving things away) how much the central theme is being explored in horror films at the moment. Only time will tell whether this remains superior to a certain future Blumhouse movie which seems to share many traits with it. That’s currently due for a January 2026 release… so if you go looking for it and realise the connection… you’ve spoilt it for yourself. Otherwise, take the time to see this and console yourself with the message that it’s sometimes better to be single if that’s what you currently are. Do one St Valentine!

threehalfstar.png
It’s not quite as dark and twisted as you might be led to believe, but this is nonetheless an imaginative and hugely enjoyable take on several sci-fi/horror tropes. It benefits from two excellent central performances, a no-nonsense approach, and some perfectly timed sequences. Switched-on social commentary with a full battery and a sick sense of humour.
  • Instagram
  • Facebook
  • Twitter
  • email
bottom of page