Cinema review roundup: Companion, Babygirl

Companion is a fresh and twisted chiller in a new era of she-bot cinema.

Recently, films like M3GAN (2022), The Artifice Girl (2022), and Subservience (2024) have put an AI twist on the psychological thriller and slasher genres. Now comes Companion, which follows the trend, but introduces a few clever subversions.

If you’ve seen the trailer - or even the poster - you’ll know that Sophie Thatcher plays a companion robot to Jack Quaid’s character. It’s a shame this revelation was necessary to promote the film because it could have been an incredible “gotcha” moment otherwise.

But studios want bums on seats, and marketing the film as an AI-horror is a guaranteed way to grab attention. So be it. While this spoiler deprives the audience of what might have been the story’s biggest twist, director Drew Hancock has packed the film with plenty of surprises to keep viewers on their toes.

The creators of Abigail (2023) faced a similar dilemma, revealing a major spoiler in their marketing. Yet it didn’t diminish the film’s impact, and the same applies here.

Josh (Quaid) and his girlfriend Iris head to a remote house in the woods for a weekend getaway with friends. Things take a sudden and violent turn when Iris kills one of the friends, forcing Josh to shut her down as the group scrambles to deal with the aftermath. Beyond that, the less said about the plot, the better - this is a twisted, no-holds-barred romp that’s as thrilling and chaotic as it is violent.

Sophie Thatcher is brilliant as Iris, showcasing an impressive range of emotions. Having already cemented herself as the Scream Queen of the moment with roles in Heretic (2024), The Boogeyman (2023), and the hit TV series Yellowjackets (2021), this might just be her best performance yet.

Jack Quaid has a strong presence that's equally as charming as his old man (Dennis Quaid), and has great chemistry with Sophie Thatcher. Together, they make for a compelling onscreen duo, lending credibility to the otherwise far-fetched premise.

Director Drew Hancock, known for his work on Tenacious D music videos with Jack Black, makes an impressive feature film debut with Companion, bringing an arthouse sensibility to the material. He’s no stranger to the genre, having created and directed the TV series My Dead Ex (2018). 

In Companion, Hancock takes his time, letting the story unfold at a leisurely pace while carefully developing the character dynamics.

Although a New Line Cinema and Warner Bros. production, Companion carries the appeal of an A24 or Neon film. It has the elevated, cerebral cadence that those cult studios are known for, signalling that even the major studios are tapping into the growing demand for more subversive genre cinema.

Nicole Kidman’s new film Babygirl is so raunchy that it makes you wonder how Keith Urban must feel about it. 

All facetiousness aside, Babygirl is an erotic thriller from the director of Bodies Bodies Bodies (2022) that flips the script on classic films of the ‘80s and ‘90s like Basic Instinct (1992) and Color of Night (1994).

Nicole Kidman stars as the CEO of a major tech company in New York City, grappling with the sexual stagnation of her 18-year marriage to Jacob (Antonio Banderas). When a self-assured young intern named Samuel (Harris Dickinson) joins the company, she’s drawn to his cocky confidence.

What begins as a professional mentorship quickly escalates into a dangerous power dynamic, as she succumbs to his inappropriate advances. At his mercy, she willingly submits to his twisted fantasies, pushing the boundaries of her own control. But when the situation spirals beyond her grasp, the life she’s built - her family and career - teeters on the brink of collapse.

Babygirl is provocative, to say the least, and savvy moviegoers may recognise it as a gender-reversed take on the 2002 film Secretary. The parallels are clear, but Nicole Kidman delivers a fearless performance here, fully committing to the role - even in scenes that expose her completely and in compromising positions.

Harris Dickinson is an excellent and compelling antagonist, with a believably dominant presence. The chemistry between him and Kidman is intentionally awkward, creating an uneasiness that heightens the tension in the film’s third act, keeping audiences guessing about the outcome.

However, Antonio Banderas delivers the film’s standout performance as the doting, ever-loyal husband - a successful theatre director - whom Kidman’s character treats with disregard. His character’s emotional arc is arguably the film’s most fascinating and relatable element, one that will undoubtedly resonate with viewers.

Erotic thrillers are increasingly rare these days, making Babygirl a welcome return of the genre.