‘Companion’ review – Sophie Thatcher shines in this blood-soaked anti-romantic comedy

From its opening meet-cute where a bright-eyed girl meets a clumsy boy in the fruit section of a supermarket, Companion seems like your typical romance film. It’s a bit cliche but there’s something sweet and endearing. Our leads, Iris (soon-to-be horror royalty Sophie Thatcher) and Josh (The Boys’ Jack Quaid) are attractive and sparks instantly fly as Josh knocks down a display of oranges, much to Iris’ amusement. It’s all very familiar, complete with Iris declaring that meeting Josh was one of those “transcendent moments when the lights flicker on […] and you see the world for what it really is. […] Suddenly there’s purpose.” However, writer-director Drew Hancock does not let us revel in the romance for too long, yanking us out of our reverie with Iris’ declaration that, whilst meeting Josh was the first of these moments, the second happened when Iris killed him.

Companion feels like a difficult beast to talk about as it is a film built on a series of shocking reveals (one of which has unfortunately been spoiled by most of the marketing) and so, I’d almost urge anyone interested in seeing the film to avoid reading too much about it. With that in mind, I’ll do my best to keep the film’s secrets under wraps because going in blind is the best way to experience it.

This sets in motion a chain of truly head-spinning events where nothing is as it seems

The film follows Iris and Josh as they take a weekend away together to spend with Josh’s close friends. One of such friends, Kat (Megan Suri), is currently dating a wealthy Russian man, Sergey (Rupert Friend) who has a mysterious occupation. The group are staying in his sleek, modern cabin in the woods. It’s so off the grid that Iris does not realise the long winding country road they have been heading down is actually the driveway. Tagging along is also couple, Eli (What We Do In The Shadows’ Harvey Guillén) and Patrick (The White Lotus’ Lukas Gage), both deeply infatuated with the other. A weekend of eating gourmet food cooked by Patrick, drinking Sergey’s expensive wines, and relaxing on the house’s private beach appears to be on the cards. However, Iris is not so quick to unwind, feeling out of her depth and judged by the group, particularly Kat, and Josh does little to help soothe this. Things only get worse when Iris kills Sergey in self-defence after an attempted assault. This sets in motion a chain of truly head-spinning events where nothing is as it seems, and everyone is revealed for who they truly are. Whilst this plot summary may seem like I’ve given away too much, Sergey’s murder is only the tip of the iceberg in a film with so many fun tricks up its sleeve. Even for those who have seen the trailer and felt as though that gave too much away (I’m including myself here), I can assure you there are plenty more surprises in store.

What follows is bloody, hilarious, and refreshingly silly as we’re treated to a set of fantastic lead performances with Iris and Josh gradually turning against one another from the stress of the situation. This is where the fun of the script truly shines as Hancock borrows tropes of romantic comedies and break-up scenes, applying them to the scenario of a thriller. As the situation grows more violent, Iris, after running over Josh’s foot, tells him that they are just on “two totally different paths”. If it’s not clear yet, Companion is far from an intellectual exercise, but it is great fun. It helps that the whole cast has a great knack for comedy, delivering their lines with a knowing wink to the audience. Hancock and Co. are here to bring you a good time, plain and simple. Companion is not going to find itself in a ‘Best Films of 2025’ list or wind up in the pantheon of the truly great horror comedies, but what it does do is provide some levity in a time where we are disastrously short of it. There’s plenty of blood, thrills, laughs, and clever dialogue to keep horror fans and casual watchers alike hooked.

more films should be showing the consequences of unchecked male entitlement

With that being said, I don’t want to make it seem as though Companion isn’t commenting on meaningful issues. It touches on male entitlement as well as toxic power dynamics within relationships and gender relations, refracting such issues through blood spray and humour. At first awkwardly charming, the film charts the slip of Josh’s facade as he transforms into a typical ‘nice’ guy, with the film pulling no punches in its portrayal. Josh believes the world owes him something and thinks this means he can control those around him. As adolescent boys are slowly being inducted into the manosphere and right-wing circles, more films should be showing the consequences of unchecked male entitlement, even if it’s being taken to the extreme.

However, this portrayal is far from nuanced, and Quaid is handed some clunky lines here and there. Another critique in this field is that Companion is not helmed by a woman. This is not to say that men are banned from making films about women’s experiences, but rather what I mean is that Hancock’s commentary is quite surface-level, content to be about topical issues but without fully unpacking them. The film’s biggest twist seems ripe for a Feminist dissection and Hancock just does not go far enough in exploring its many implications. Maybe a woman’s perspective could have done this more effectively, capturing the depth and nuance of the female experience that Hancock misses out on.

This feels like the correct time to discuss the absolute star that Sophie Thatcher is. Make no mistake, this is her movie, and I hope the positive critical reception of both this and last year’s Heretic will catapult her into stardom. She is utterly captivating in the role, pulling off Iris’ shift from timid girlfriend to bewildered victim and finally to reluctant killer. Not only is this achieved through her delivery and facial expressions but also her physicality and control over her body. In fact, she practically sells every line, even the slightly ham-fisted ones. Iris also excels simply because she is a solidly written character. For a protagonist that could easily be a blank slate or generic ‘badass’ horror heroine, there’s a complexity here. Iris is well fleshed out and easy to root for, only bolstered by Thatcher’s undeniable charisma.

What is unfortunate is that Hancock falls short in writing the other female character of the film – Kat. Megan Suri does her best, but Kat has maybe two personality traits at best and is given a measly amount to do. At times, I would find myself completely forgetting she was even present due to how underwritten she is. It’s a real shame as evidently, Hancock can craft a compelling character in Iris and yet, Kat is afforded so little. Even the other members of the group are well developed too, but Kat remains an anomaly.

Speaking of the other group members, Jack Quaid, Harvey Guillén, and Lukas Gage are great in their roles. Quaid is doing what he does best, playing the scummy boyfriend role incredibly well. Although it feels quite similar to his other roles such as Scream’s (2022) Richie, it is nonetheless a great performance. Guillén gets to flex his comedy chops in a fun, side-character role that provides much of the film’s comic relief. Gage is also a pleasant surprise, nailing the comedic elements as well as channelling the intensity of Robert Patrick’s T-1000 when the film requires him to do so. Rupert Friend, despite his limited screen time, is also clearly having fun as Sergey with his mullet and gaudy 70s moustache, even if he’s more of a plot device than a compelling character.

Feminist scholarship Companion is not, but a bloody good time it most definitely is

Come for the twists and stay for what looks to be one of the best horror performances in recent memory, Companion is slick and splatter-filled, armed with a game supporting cast and an assured director at the film’s helm. Whilst it’s a bit insubstantial and occasionally clunky, the film shows that January is not just horror/thriller cinema’s dumping ground, rising above mediocre horror fare with a keen sense of humour and personality. Feminist scholarship Companion is not, but a bloody good time it most definitely is.