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William (Jonathan Rhys Meyers) is an employee for WifeLike, a company devoted to the construction and sale of spouses for lonely men looking for partnership, but unwilling to deal with human behavior. William is part of a recovery unit, helping WifeLike retrieve rogue creations, locked in a battle with The Scare, a terrorist organization abducting the androids, reprogramming them to cause great harm to the system. As payment for his services, William is offered control of Meredith (Elena Kampouris), a product designed to look and sound like his late wife. Enjoying a renewed dynamic with his mechanical partner, William continues to investigate rogue androids, but Meredith isn’t exactly sure what’s happening to her mind, retreating into a dream state while recharging that exposes the presence of Keene (Fletcher Donovan), an enigmatic man whom William is intent on bringing to justice. Growing aware of her reality, Meredith looks to understand the woman she’s meant to replicate, learning more about William in the process.

The world of WifeLike could probably carry the picture along, examining a society where women have been turned into mechanical domestic partners, with marketing from the company suggesting a deeply sexual experience for customers, giving them complete control over their purchase. Early scenes with Meredith and William carry unusual tension, watching the widower help his “wife” get used to her surroundings, which includes breakfast preparation (her programming prevents her from offering unhealthy food) and bedroom activity, demanding the setting of intimacy levels in the machine. Unexpectedly, Bird doesn’t merely suggest an active sex life between Meredith and William, he’s happy to show it off in lengthy sequences of softcore action, helping to make “Wifelike” resemble a silly erotic offering from the 1990s. And this is one of the first signs that the feature isn’t going to live up to its potential. 

“Wifelike” positions William as a Rick Deckard figure, with the agent working to track down rogue androids, keeping the production line in place for his corporate bosses. The wives aren’t alright in the screenplay, which examines growing hostility in the land, leading to a few scenes of runaway spouses, and there’s the threat of The Scare, with the terrorist organization’s goofy name more threatening than their actions. Bird doesn’t have the money to provide a thrill ride of dangerous encounters, sticking to a few stunt sequences and a lot of future tech. Meredith embarks on a more surreal journey in “Wifelike,” retreating to the expected comfort of her own mind during the overnight hours, only to be contacted by a stranger eager to pull something deeper out of her. This sets up a mystery involving Meredith’s history, which she attempts to research, reaching answers she doesn’t immediately understand. 

Bird’s writing gets too caught up in exposition, especially in the third act, as connections need to be explained. However, answers aren’t all that interesting, and it doesn’t help to have Meyers basically sleepwalking through the movie, showing very little interest in giving William a defined presence in the tale. More animated is Kampouris, who does very well with an exploitative part, successfully making an impression with her android physicality and ability to make weak dialogue seem important. “Wifelike” is boosted by Kampouris’s fine work, with the production in need of some sign of life as it stumbles through a dull finale, which is buttoned with an opening for a sequel. Bird is trying to establish a future for “Wifelike,” but the present needs more attention, delivering an increasingly unexciting viewing experience that’s not enticing enough to follow into franchise plans.