1. A robot may not harm a human or, through inaction, allow a human to come to harm.
2. A robot must obey the orders given to it by human beings, except where such orders conflict with the First Law.
3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.
These are the three well-known laws of robotics as stated by Isaac Asimov, fundamental principles that top AI engineer Gemma (Allison Williams) clearly fell asleep to during class.
He’s made a career out of Purrpetual Petz, Furby-like creatures with distressingly ugly mouths designed to outlive their owners and spare them the pain of loss. His plan to beat the competition is not to lower the price and quality of his android pets, as his boss David (Ronny Chieng) wants, but to innovate by creating a robotic girl called Model 3 Generative Android, or M3GAN for short.
When her sister and brother-in-law are killed in a car accident, she’s given even more incentive to rev up her prototype M3GAN (Amie Donald, voiced by Jenna Davis) to give her orphaned niece Cady (Violet McGraw) a companion.
However, the mastermind who ruled out Asimov was unable to define the doll’s parameters. But that doesn’t matter: after all, what could go wrong putting a hasty prototype of an experimental android on a traumatized child who begins to mourn the loss of his parents?
A lot, like any I’ve ever seen Child’s play or you have a passing appreciation of ‘Frankenstein’ (or common sense) you can guess: the toy becomes a head caretaker who turns into a pint-sized Golem with a sadistic Terminator bent.
Co-writers James Wan and Akela Cooper (both behind the gruesome 2021 film) Evil one) and director Gerard Johnstone (Housebound) didn’t rack their brains too hard to come up with M3GAN painfully predictable formula; his movie is a generic entry in the robots run amok subgenre, which derives as heavily from better movies as any of the Chucky movies; robocop and its false advertisements; ex machina and that dance sequence; or the recent after yang and its narrative strands that weave together loss and AI companionship.
That said, there’s still some fun to be had with the haunting M3GAN, especially her sadistic streak when it comes to getting rid of people she deems may pose a threat to Cady, who builds an emotional connection to the doll that threatens to become “too much.” “. hard to unravel.”
But the minor spikes don’t outshine the film’s main drawback: it can’t figure out what it wants to be.
A satirical comment on the pacification of children through technology, which doubles as a cautionary tale about AI and hastily grappling with grief? The script is too direct for these themes to register in any meaningful way.
A meditation on grudging motherhood? that’s giving M3GAN too much credit.
A cutesy slasher? Sure, but while the deaths are fun, there’s not enough insane violence or scares to ensure it remains memorable—or campy enough, for that matter. Even if M3GAN inexplicably sings Sia’s ‘Titanium’ as a lullaby to Cady it’s quite funny.
At the end of the runtime, you are under the impression that M3GAN it tries to be all of these things at once, and fails to be any of them, with its crude tonal shifts ensuring that its attempts at realism are at odds with its more humorous beats. It’s a movie about artificial intelligence that needed a lot more intelligence, or at least a clearer understanding and commitment to what it wanted to be, plus a sequel and last-minute inspiration for future Halloween costumes. And as usefully entertaining as it sometimes is, M3GAN Ultimately, it feels like it’s destined to become one of those movies sandwiched between two best movies in a horror movie marathon. What a shame3.
M3GAN is now available in theaters in Europe and the US, and will hit UK theaters in mid-January.