Wifelike (2022) – Film Review

like a woman2022.

Directed by James Bird.
With Jonathan Rhys Meyers, Elena Kampouris, Doron Bell, Agam Darshi, Fletcher Donovan, Alix Villaret, Caitlin Stryker, Rachelle Goulding and Sara Sampaio.


When artificial human Meredith (Kampouris) is assigned as the companion of grieving widower William (Meyers), he is engineered to behave like his late wife. However, a clandestine organization attempts to sabotage Meredith’s AI programming. He soon begins to question reality as memories of a past life begin to resurface in a world where nothing is as it seems…


“Update your wife. Improve your life.

Jonathan Rhys-Meyers plays William Bradwell, a man left empty by the death of his wife, Meredith. Yet, to help him recover, what better than to replace his former flesh-and-blood partner with a cutting-edge AI Meredith created by the mega-corporation Wifelike? She looks, sounds and thinks like the real thing with memories and information fed into her processing unit, and she’s brilliantly animated by Elena Kampouris.

Kampouris has the physical and vocal performance of an AI on location, reminiscent of those creepy, real-life AI dolls seen across Asia. Smooth movements, glassy eyes that seem to be peering through her co-stars, and a voice that would suit any Apple device.


The detail of bringing Meredith to life is pretty fun, with attention to detail on simple things like making love. William must first activate the voice command, launch the intimacy settings, adjust the level of sexual desire and even save the English language settings when she speaks Japanese. But as soon as the human actions are done, it’s back to the charging station and a satisfaction survey offered, and even warning her with an “Access Denied” block when she tries self-exploration mode.

It’s one of the more straightforward yet seemingly realistic take on AI companions on film, again thanks to Kampouris’ performance. She never fails to make her interesting but slightly uncomfortable because she never loses her AI ways, and you can’t help but be invested in her growing and learning, but never quite knowing where that puts her. to lead to.


Bird merged the battle against dangerous and mind-blowing corporations of Total recall, the distorted reality of The matrix and the dark AI crime story of blade runner for his story. Bradwell must prevent growing threats from anti-AI rebels, turning companions against their creators, while finding solace in one of his own to fill the void in his life. It’s a futuristic world with Tesla-esque electric cars, sleek video walls, neon lights illuminating bustling cities, and shadowy underground resistance fighters. Still, not everything is expensive CGI and grandeur.

Bird keeps a sense of realism about things, with the seedy menace of crime and commercial greed not too far away in our places like safe houses, shiny offices, and labs. There’s also no holding back on the violence that seeps in when Bradwell does his duty. Meyers may be playing second fiddle in this story, but he has a world-weary side to his character that suits him well, never quite buying his happiness as he masks inner pain while searching for the truth, always wondering if he’s a hero or a villain – or both?


As director and screenwriter, Bird not only mixed ideas from existing sci-fi works and visuals for his film, but eschewed any action. Instead, it’s a curious self-study that almost flips Schwarzenegger’s character Doug Quaid from Total recall to put us now with Meredith as she begins to remember visions of a potential past life before she was created, with shady characters from the past emerging from the woodwork to threaten everything Bradwell fights and lives for.

It’s a low-key addition to the sci-fi genre of AI mingling with humanity, but it’s restricted enough to be scarier than the rest. like a woman channels a creepy theme of sexual domination much like The Women of Stepford, exploiting until the end the relation and the status of the man and the woman. The danger bubbles beneath the surface from the start until it boils over for a chilling, winding climax, aided by Rich Walters’ powerful score of Vangelis.


like a woman isn’t a full action movie, so don’t expect to get what you pay for, but it’s a well-produced and entertaining thriller with great performances that builds a human/AI world where everything blurs between what what is real and what is not.

Scintillating Myth Rating – Movie: ★ ★ ★ ★ / Movie: ★ ★ ★

Chris Gelderd


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