“M3gan” (2023) is a post-postmodern techno-horror comedy that tries – and largely succeeds – at being both a serious warning to young filmgoers and a smirking joke to people who have seen it all before. It’s too light to be an important SF film in the long run, but it’s smile-worthy in the moment.
Director Gerard Johnstone delivers what we expect: “M3gan” is part-“Terminator,” part-“Chucky.” Akela Cooper’s screenplay might’ve benefited from more surprises, but it does check the expected boxes. We’re asked to think about how artificial intelligence gets smarter every day and could cross a threshold wherein humans no longer control it.
Techno-thriller as light comedy
This is an overrated fear – our computers are a long way away from plotting to kill us on their own – but this familiar theme (popularized by Michael Crichton, to name one) does lend itself to a low-grade comedy. Allison Williams (“Get Out”), as Gemma, has a naturally smirking quality, but that’s appropriate for this material, which comes from a story by James Wan, in his “Malignant”-style playful mode.
“M3gan” (2023)
Director: Gerard Johnstone
Writers: Akela Cooper (screenplay, story), James Wan (story)
Stars: Allison Williams, Violet McGraw, Ronny Chieng
Gemma is the aunt of orphaned Cady (Violet McGraw). She lacks traditional parenting abilities – in a funny moment, she tells her niece that those unboxed items on her shelf are “collectibles,” not toys – but is a brilliant coder for a toy-design giant.
Going behind her boss’s back, driven by her workaholic nature, Gemma creates the titular robot. Young actress Amie Donald plays M3gan, with Jenna Davis providing the voice and CGI animators providing the face – somewhat similar to the title character of “Alita: Battle Angel.” She is the film’s star, but more as an unusual visual than as someone we sympathize with.
“M3gan” starts in Verhoeven-lite fashion by making fun of the corporate toy industry with a commercial for furry stuffed animals that kids can control with their tablets – an amalgamation of popular dolls through the years from Furbies to Baby Uh-Oh! This is the type of parody that immerses us in reality rather than exaggerating it to the next iteration, so it’s worth a smile rather than a belly laugh.
Keeping the light comedy going, Ronny Chieng plays Gemma’s boss as someone whose main skill is bossing – calling to mind Taika Waititi in another of these futurism-fears comedies, “Free Guy.” He doesn’t know the tech side, at one point instructing Gemma to write a speech that makes him sound like he knows what he’s talking about.
Dolled up for a rampage
I was always aware of what “M3gan” is going for – often pairing shots of the blank-faced doll with ominous orchestral strains – but it’s not a lazy rip-off of previous doll horror. Johnstone knows that we know exactly what’s going on, so it’s commenting on what it’s ripping off.
When M3gan inevitably goes on the loose, the natural absurdity of the situations provides amusement, along with an occasional inspired moment. For instance: A corporate suit is warming up the audience for the unveiling of M3gan and instructs them to show excitement for the cameras. But the screams that follow are genuine.
“M3gan” is not dumb. But it’s also not cleverly staged nor narratively original, using its broadly familiar canvas to wink rather than to make a fresh statement. If you’re coming for the horror rather than the laughs, it must be said this film doesn’t provide scares nor gore (although there might be some of the latter in the unrated version).
Of course, there is a “M3gan 2.0” in the works. The filmmakers will need to get crazier in that one to keep my attention plugged in.