Review of 'Companion': Aia and mixture of dating dating in horror lark

As Studio Horror has become increasingly fun, closer to a walk in the amusement park than anything really disconcerting, it is probably better to judge these films for their qualities similar to appointments. Price and fun that becomes creepy and full of tension (but remains fun) is more desirable than, for example, the decidedly safe and predictable.

So what kind of partner is “partner”, starring Sophie Thatcher and Jack Quaid as romantic weekends for some surprises that involve hidden reasons and bad technologies? Certainly, closer to good weather, the “m3gan” alland (with which he shares a warning humor on AI) than the “barbarian” of slow burning, the surprise surprise of a few falls ago that the ads of the ads of the movie would prefer to take into account.

This is not the hidden passage to hell that was “barbarian.” But the unexpected is baked in the appeal of “companion” thriller, which depends on the problems, triggers and instincts of the good Iris girlfriend, whom the queen of terror thatcher makes it instantly be convincing as our tour guide. Iris is accompanying her boyfriend, Josh (quaid) of joke, with a silly and attentive face (quaid) to the mysterious Russian businessman of Louche, Sergei (a friend of Rupert coldly ridiculous), where the other guests are the wait of Sergei, the Agrada Kat (Megan Suri)) and the Googly two Eli (Harvey Guillen) and Patrick (Lukas Gage) eyes. Iris, dressed as a safer naif from a gentle approach to another era (an environment overtholy with the soundtrack needle of the 60s), he is worried that nothing of this crew likes it, but at the forefront of Your mind is making its kind happy.

However, that goal of yours seems to be very doubtful when he returns from a beach walk covered with blood and annoying, his group of six now less a human being. On the other hand, not all in the house are a human being to begin with, which is the first turn in the writer and director Drew Hancock of a satire of couples through “Westworld” and “The Terminator” (and, sure, ” M3gan “). This revelation, which comes when Iris is subsequently handcuffed and supplicating, should not be a great shock (hancock drops a couple of signals in the accumulation of calm but in all companies, but the key here is that it is a deep blow to Iris , who must absorb this devastating information and discover how to survive the trip.

No one is how they seem, including iris, and all that “companion” must do is keep you tied while the action occasionally breaks for the explanation and counting of the body increases. And he does, with rhythm and on.

Fortunately, with its baked edge, Thatcher is quite good in the mixture of inexpressive and the force that the paper requires, and it is very good if you do not believe it completely in those first scenes as a apprehensive codependent. (Eventually it helps feed one of the most interesting speculation of the script about the future of relationships). The actors surrounding Thatcher, meanwhile, are a lot of gambling pieces cannilly in motion, with a manifesto that makes a solidly fun use of performative labor, looks just so easily transform into a worrying emptiness.

Logic is not always the best friend of this film, an irony for any film whose plot is literally about programming the results. But as a technological darkness with a violent ingenuity and some daring empathy (which comes as it does at a time of suspicious emotion about our future modeling and molding), “Companion” is a well -designed and well -enhanced quotation night pack.