‘DreamQuil’ Review – More Sleepy Than Profound, Save For A Delightful Dual Performance By Banks

The line between virtual and actual reality is far from a beautiful mosaic. In fact, it’s becoming incomprehensible, more like a garbage disposal than anything poetic. With AI now infiltrating every aspect of our society, we are left questioning, if not shouting, what is real?! DreamQuil tries to thread a needle and offer a unique perspective, but it’s still only mildly entertaining. While the film wishes to be provocative and evokes a 1950s fever dream meets The Twilight Zone, the result is a mixed bag that will fail to satisfy audiences, save for one dynamic dual performance.

We meet Carol (Elizabeth Banks), an overworked career woman and mother whose daily life feels suffocating and claustrophobic. She grows distant from her husband, Gary (John C. Reilly), and seems out of touch with her son, Quentin (Toby Larsen). Fearing divorce is on the horizon, she checks herself in for a virtual retreat. DreamQuil is a revolutionary, avant-garde digital wellness retreat (oh, the horror). This escape into a virtual reality of sorts allows Carol a needed respite to recharge. But when she returns home, she finds her doppelgänger, Carol 2, living with her family. Sent by the corporation, this robotic version of Carol has been taking her place and has no intention of going back into the proverbial box.

What began as a virtual retreat becomes a living nightmare as Carol 2 begins to infringe on Carol’s identity, family, and very life. Cue The Twilight Zone music…

Now DreamQuil boasts a promising premise. It draws parallels to The Stepford Wives and more recent entries like Companion. It taps into the ongoing debate over virtual components and automation in our modern world. The movie doesn’t go as deep as the titles mentioned. It scratches the surface on our societal shift towards digital avatars and virtual reality. However, the story circles back to familiar territory and offers nothing truly provocative.

It is a shame, because the visuals here are stunning. The sets and design show genuine craftsmanship that brings the images to life. Even the look of the DreamQuil environment evokes a weirdly concocted, Disney-esque dream space that, on closer inspection, feels more like a nightmare than a happily ever after. The design has a Hitchcockian flair that, as a film buff, I appreciate and applaud. I only wish the story ran as deep and imaginative as the designs.

It does give a sense of direction, at least in terms of where society is going. The world has gone to hell, air quality is poor, and people are retreating into virtual headspaces. However, the focus stays more on the family dynamic and the conflicting presence of Carol and Carol 2. The story chugs along on a familiar track, but then takes an unexpected turn at the end. This shift will either be a deal-breaker or perhaps a unique subversive effort. In my view, the shift conflicts more with the story’s overall messages and thematic aims.

Indeed, it raises many ideas—conflict over stolen identity and the balance between digital reality and our actual one. It also explores the integration of artificial and robotic intelligence into our daily lives. There is a lot to chew on, but little substance by the end. In an ironic twist, the film becomes similar to the actual product it spoofs and leaves us more drowsy than engaged in the plot.

The film’s true saving grace is Elizabeth Banks. Dual roles are fun for an actor, especially when they play mirror images of themselves. Banks has a ball, enjoying both the melodrama and the downright campy moments. At times, both Carol and Carol 2 feel like two different people, even though the latter is a robot. Both bring clear personality and unique traits to both roles. Reilly’s supporting performance is commendable, as is Juliette Lewis, who plays a nurse at DreamQuil, but Banks remains the showstopper.

Both versions of Carol come to life; the clash between worlds is a madcap joy to watch, and Banks is mesmerizing.

DreamQuil is now playing in select theaters courtesy of Patriot Pictures.

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