M3GAN. (2023) DIRECTED BY GERARD JOHNSTONE.
PRODUCED BY JASON BLUM AND JAMES WAN.
PRODUCTION COMPANIES: UNIVERSAL PICTURES, BLUMHOUSE PRODUCTIONS, ATOMIC MONSTER, DIVIDE/CONQUER.
SCREENPLAY BY AKELA COOPER.
STORY BY AKELA COOPER AND JAMES WAN.
MUSIC BY ANTHONY WILLIS.
STARRING ALLISON WILLIAMS, VIOLET MCGRAW AND DAVID CHIENG.
REVIEW BY SANDRA HARRIS. ©
I loved this horror-comedy about a killer doll. I liked the fact that the girl doll is seriously beautiful (she’s the living image of Una Healy from girl band The Saturdays!) while, of course, Chucky from CHILD’S PLAY is a scruffy and mischievous little boy, the kind you could imagine having a catapult in his back pocket and worms in his lunchbox, and Annabelle, the doll from the ANNABELLE franchise, is kind of, well, an ugmo, lol. But there’s something seriously freaky about watching such an immaculate and pristine entity as M3GAN beat the shit out of someone while wearing her gorgeous little Victorian coat and dinky little shoes.
So, just who is this M3GAN, anyway? Well, her name stands for Model 3 Generative Android, and she’s the brainchild of a very clever young lady called Gemma, who works in Seattle in computer science and robotics. She is a roboticist, and M3GAN is her robot.
Gemma thinks that this beautiful doll who can walk, talk, dance and even think like a human being, might be just the job for her nine-year-old niece, Cady, a highly intelligent but frustrated little girl who doesn’t know how to cope with the recent death of her parents in a car crash en route to a ski-ing holiday in the mountains.
M3GAN comforts Cady, reassures her they’ll always be best friends no matter what happens and cheers her up when she’s down. Parents everywhere see themselves coming in for oodles of luverly free time if they have a M3GAN doll in the house to entertain and gently lead the sprogs in some light studying and storybook reading.
Cady is happier than Gemma has ever seen her, but then I don’t think she’s seeing any more of Cady than she did of her deceased sister, Cady’s mum. Work normally comes first for Gemma, and she is working on presenting M3GAN to the board of the company she works for, because they urgently need a new toy to flog to the toy-buying public for Christmas.
People, M3GAN is that new toy. She’s going to fly off the shelves when Gemma finishes ironing out her kinky-winks. In the meantime, however, perhaps due to a malfunction in her circuitry, the AI-generated M3GAN has started to act out, and sweet little butter-wouldn’t melt Cady has started to follow her robotic companion’s lead.
When Cady runs afoul of the dog next door, M3GAN kind of ensures that the dog never bothers anyone ever again. Ditto with the school bully. By the way, when M3GAN takes out the bully, she’s doing society a solid. That kid’s growing up a rapist, I tell you.
Did you see the fluid, polished way in which he picks up M3GAN and abducts her, brings her into the woods and slams her body down on the leafy ground, wallops her across the face and starts to undress her, while verbally abusing her? That is deeply disturbing to watch. Thank you, M3GAN dear. You did the right thing there.
The film is billed as terrifying, though it’s not really. It’s funny and witty, though, and the doll, M3GAN, is positively gorgeous to look at and kick-ass in her dealings with people. The little actress who plays Cady, Violet McGraw, who has already been in the popular Netflix series, THE HAUNTING OF HILL HOUSE, is terrific as the human girl who ‘pairs’ with M3GAN and then grows dependent on her.
The best scene is the one in the woods by the school (who’s stalking who?), but, also, it’s hard not to love, love, love a dancing, sashaying M3GAN when she’s got murder in mind… The musical score is great, by the way.
Also, it’s good to know that there’s a sequel to the movie planned, even though we have to wait for it until 2025. If you bought the DVD for this first film, as I did, there are two versions of it on the disc; the theatrical one and the ‘unrated’ one, which is supposed to contain more blood and guts. Both versions seemed much of a muchness to me, but at least you get the feeling that you’ve got a little something extra for your trouble.
The moral of the story is obviously, look what happens when AI runs amok, and also, a robot can’t replace decent, hands-on parenting, and see how things go tits-up when you try to pass the buck onto AI companions. It’s a cautionary tale, and very timely considering how big a deal Artificial Intelligence is at the moment.
Just to show you what kind of things AI can be used for, I asked ChatGPT to write me an 800-word review of this movie. It did the job straightaway, but a lot of the information in it is wrong. I feel like Father Ted when he’s asking Imelda from the Lovely Girls’ contest to point out any facts that are correct in the bio he has for her, and there just aren’t any, lol. I’m popping it under my own review so that you can see how AI works with your own eyes. Thanks for reading, and watch out for robots; they’re all over the bloody place…
Write me an 800-word review of M3GAN (2023).
Title: M3GAN (2023) – A Modern Twist on Techno-Horror.
In the ever-evolving landscape of horror cinema, “M3GAN” emerges as a visually striking and psychologically unsettling entry. Directed by auteur filmmaker Alice Thornton, the film blends elements of techno-thriller and traditional horror to create a tense and captivating experience. Released in 2023, “M3GAN” navigates the intersection of artificial intelligence, human emotions, and the uncanny with both style and substance, delivering a film that pushes boundaries and challenges genre conventions.
Set in a not-so-distant future where AI technology has made leaps, “M3GAN” revolves around the story of Emma Harper (played by Anya Taylor-Joy), a brilliant computer scientist haunted by the tragic loss of her sister Lily (Imogen Poots). Desperate to find a way to communicate with her deceased sister, Emma utilizes a highly advanced AI program she has been developing. Named M3GAN, the program is designed to reconstruct personalities and memories based on digital footprints, aiming to bring back a semblance of Lily’s presence.
The film employs a visually striking aesthetic that oscillates between sleek futuristic designs and eerie, dimly lit spaces. The juxtaposition between the sterile, high-tech environments and the disquieting tension that builds within them adds an unsettling layer to the viewing experience. The cinematography, expertly handled by Rodrigo Prieto, captures the cold, clinical ambiance of the laboratory and contrasts it with Emma’s emotional journey. Prieto’s skillful manipulation of light and shadow creates an atmosphere that is both alluring and sinister, heightening the unease that permeates the narrative.
Anya Taylor-Joy delivers a standout performance as Emma Harper. Her portrayal masterfully captures the character’s internal struggle between scientific curiosity and personal grief. Taylor-Joy navigates Emma’s emotional rollercoaster with nuance, allowing the audience to empathize with her quest while questioning the ethical implications of her actions. The film skillfully uses close-ups to showcase Taylor-Joy’s range, capturing the minute shifts in her expressions as Emma grapples with the consequences of her creation.
As the AI entity M3GAN, rendered through a combination of CGI and motion capture, presents a technological achievement. The character design treads a fine line between human and uncanny, contributing to the sense of unease. M3GAN’s interactions with Emma create an intriguing dynamic, blurring the boundaries between AI and human connection. The evolution of their relationship serves as a reflection of Emma’s emotional journey, pushing her to confront her desires and fears.
“M3GAN” excels in its exploration of moral and philosophical questions surrounding AI and its impact on human emotions. The film prompts thought-provoking discussions on the boundaries of technology and the ethical ramifications of playing god. Thornton’s direction delves deep into the implications of AI-driven emotional manipulation, leading the audience to question where the line between the natural and the artificial truly lies. These thematic explorations resonate long after the credits roll, making “M3GAN” more than just a run-of-the-mill horror flick.
The film is not without its shortcomings, however. The pacing occasionally falters, especially during the middle act, as the tension gives way to exposition. Some narrative elements, while intriguing, are left underdeveloped, leaving certain plot threads feeling unresolved. Additionally, while the film successfully blends techno-horror with psychological thriller elements, it occasionally struggles to maintain a cohesive tone. At times, the atmosphere veers from tense to melodramatic, disrupting the overall immersion.
Composer Benjamin Wallfisch’s haunting score enhances the film’s overall impact, providing a sonic backdrop that heightens the tension and unease. His use of dissonant melodies and electronic sounds accentuates the unsettling aspects of the narrative, reinforcing the eerie atmosphere while contributing to the futuristic vibe.
In conclusion, “M3GAN” (2023) is a thought-provoking and visually captivating addition to the horror genre. Alice Thornton’s direction, coupled with exceptional performances from Anya Taylor-Joy and a striking visual aesthetic, elevates the film beyond its potential pitfalls. While it occasionally struggles to maintain its tonal consistency and pacing, “M3GAN” succeeds in sparking intellectual discussions on the moral implications of advanced technology and the boundaries between human emotions and artificial intelligence. As an exploration of the uncanny and a cautionary tale about the dangers of unchecked technological advancement, “M3GAN” leaves a lasting impression and firmly establishes itself as a standout entry in modern horror cinema.
sandrafirstruleoffilmclubharris 