Humanity as a whole is always looking for shortcuts to make life even remotely easier. Endless developments in technology have been designed with that in mind and, as such, concerns about where we are going as a species are at the forefront of many people’s minds. DreamQuil, which takes place in a retro-futuristic society, aims to tap into this feeling, combining those anxieties with a soap opera saga tackling issues like data mining, predatory wellness and artificial intelligence among others. It’s clear the film’s heart is in the right place, but sadly the execution is lacking.

DreamQuil has been brought to life by debutant director Alex Prager, who alongside her sister Vanessa also co-wrote the screenplay. The film follows Carol, a married mother and career-focused woman who is growing increasingly dissatisfied with her life. She is trapped indoors by severe air pollution and overlooked for promotion at every turn. That is before even getting into her failing relationship with her husband Gary (John C. Reilly) and an increasingly fractured dynamic with her son Quentin (Toby Larsen).

Carol, like most in this world, turns to virtual reality as an escape, seeking solace in a digital hunk who provides the emotional connection she is clearly craving. But as her problems continue to mount, her friend Rebecca (Sofia Boutella) offers a solution in the form of DreamQuil, a wellness process that promises to fix all women’s issues through its industry-defining treatment, which Carol quickly buys into. However, when she awakens, she returns home to find a robotic version of herself, Carol 2 (also played by Banks), providing everything Gary and Quentin could have hoped for and setting in motion a dramedy that never quite has the bite its premise suggests.

On the surface, DreamQuil is an aesthetically pleasing film, styled with vibrant colours and strong costume design that help immerse the audience in Prager’s retro-futuristic vision. The central messaging, while only explored at a surface level, is intriguing and offers a brief take on modern social concerns, but it never really digs deeper or fully leans into the kind of satire that would have made it far more entertaining.

The ideas introduced through Carol 2 are nothing we have not seen before and, perhaps most disappointingly, Prager’s screenplay does not offer anything particularly new. DreamQuil falls into familiar tropes, with the central mystery feeling predictable and the climax ultimately underwhelming. It never quite reaches the boiling point promised in the early set-up.

Elizabeth Banks is blameless. Playing a dual role is no easy task, but she manages to bring something distinct to each version of Carol and is easily the most enjoyable part of the film. The same cannot be said for John C. Reilly, who is let down by the lack of strong material and never quite delivers the dramatic weight needed to bring the soap opera elements to a head.

DreamQuil may be easy on the eye and there are glimpses of potential in Prager’s work going forward, but the interesting premise ultimately feels undercooked and disappointing. It is hard to see it going down as anything other than one of the more forgettable films of this year’s SXSW festival.