Movies

‘M3GAN 2.0’ gets a humor upgrade with twice the killer dolls and half the scares

BBG News

In the latest film, titled “M3GAN 2.0,” the star is once again a high-tech, artificial intelligence doll that disregards human life, serving as a gleaming showcase for its complex antihero. The new movie introduces two of these dolls: one is a slender blonde named AMELIA, who begins the story by destroying a fortified position close to the border between Turkey and Iran. AMELIA’s name, Autonomous Military Engagement Logistics and Infiltration Android, suggests that she might be a real-life creation if proposed to the actual White House.

Originally a horror franchise, this up-and-coming series has transformed into an action-comedy. Compared to the 2022 blockbuster “M3GAN 2.0”, it aspires to be this summer’s trendy toy: a source of amusement that quickly fades away. Critics might argue that its director, Gerard Johnstone (who has also taken on screenwriting duties), has pieced together elements from various films. However, he’s not trying to hide his inspirations, drawing from classics like “The Terminator”, “Metropolis”, and the dramatic spectacle of “The Exorcist”. Essentially, it’s a movie that borrows shiny parts from other movies to give audiences what they want – such as two robots fighting over Wi-Fi. Yet, Johnstone also incorporates opportunities for his unique brand of humor. I’m looking forward to seeing more from this promising New Zealander.

In the opening scene, the arrogant robot, M3GAN, is in ruins, yet her self-importance remains unscathed. Portrayed by Jenna Davis through a blend of an animatronic figure and dancer Amie Donald, M3GAN will undergo reconstruction and upgrades – even growing taller to reflect Donald’s growth from 12 to 15 years old. For the time being, M3GAN is assigned to a small teal robot named Moxie, with flipper-like hands, which appears cute until you learn that Moxie was an actual AI emotional support doll launched in 2020, but deactivated abruptly last year – a grim reminder of the challenges in startup funding and, essentially, the concept of artificial intelligence ceasing to exist. (Videos online show people bidding farewell to their deactivated companions.)

Simultaneously, the inventor of M3GAN, Gemma (wittily portrayed by Allison Williams), has been released from prison and is now advocating against technology as a vocal critic. She questions, “Would you give your child cocaine? Then why a smartphone?” Her partner, Christian (Aristotle Athari), who supports her cause, is mobilizing the United Nations to combat the growing influence of AI. In contrast, Cady (Violet McGraw), Gemma’s 12-year-old niece who is an orphan, aspires for a career in computer science, but Gemma encourages her to focus on soccer instead.

Movies

Before ‘M3GAN 2.0’ hits the screens, let’s take a peek inside the workshop where the doll was designed. Here, we speak with designers Adrien Morot and Kathy Tse about their work on animatronics, AI, and the unique style that has caught Hollywood’s attention.

In these films, there’s no artificial division drawn between compassionate humans and impersonal machines. However, it appears that Gemma might benefit from improving her interpersonal interactions. She seems to struggle with bonding with the young person she’s caring for. Ironically, she demands things from Cady without considering Cady’s autonomy. This is quite amusing yet ironic, as she bosses Cady around with no regard for Cady’s personal freedom. When Cady expresses that she’s not tired enough to go to bed, Gemma responds abruptly, suggesting she take melatonin.

In this scenario, Johnstone finds fascinating the merging of organic and artificial entities, as demonstrated by Gemma, Cole, Tess (Brian Jordan Alvarez, and Jen Van Epp), who are creating an exoskeleton for effortless human labor (though when it malfunctions, Cole can’t disengage to relieve himself). Their prospective billionaire backer, Alton (portrayed by Jemaine Clement, whose questionable behavior might remind you of a former bureaucrat), sports a neural implant in his forehead projecting a virtual screen onto his eyes. Snapping images by blinking, this uncanny tech mogul seems so ludicrous that one wonders if his invention is fraudulent – the new emperor’s code. However, when AMELIA (Ivanna Sakhno) exploits Alton using his own technology, we delight in watching him recognize his own folly.

The storyline persists, as it’s one we seem destined to encounter time and again until the tech-feudalist innovators tire of creating devices that most people find unnecessary. Character Amelia seeks entry into the all-encompassing digital cloud that governs our daily lives, from energy distribution to finance. There’s an exhilarating, albeit brief, automobile pursuit where Amelia views humans as obstacles, propelling us onto busy roads by momentarily halting scooters and dispensing money from street ATMs.

In a cozy setting, Gemma and I find ourselves in our latest Bay Area rental, a house equipped with smart devices that seem eerily similar to poltergeists, from the ice dispenser to the vacuum. We believed M3GAN was deactivated; little did we know she’s the spectral presence lurking within our gadgetry. The film might not be frightening in the traditional sense, but afterward, it sends a chill down your spine as you tally up the items around you that aren’t really under your command – and more unsettlingly, how challenging it becomes to fend off this digital intrusion. It makes one wonder if our lives are becoming increasingly controlled by devices that don’t even require our explicit authorization for actions, like a refrigerator ordering extra eggs on its own.

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As a movie enthusiast, I’m thrilled about this upcoming season! It seems packed with blockbuster hits that rival even the grandest of Hollywood productions, alongside intelligent indie films that offer refreshing perspectives. And let’s not forget the irresistible dose of mindless fun – a must-have in every cinephile’s summer movie diet!

Title “M3GAN 2.0” showcases a fun-filled B-movie experience centered around a high-tech competition between fembots, each with mechanical arms that sway. The storyline is intentionally light-hearted, as Johnstone enhances the concept with multiple secret lairs and playful reveals for an added twist. Later, he incorporates a physical comedy moment where Gemma discovers her resemblance to M3GAN unexpectedly. The film’s girl-power message about M3GAN having a soul is present, but it doesn’t particularly tug at my heartstrings. A memorable scene features the doll and Gemma bonding, starting off as a predictable moment but becoming hilarious when M3GAN oversteps and begins to sing another awkward pop song, borrowing a clever gag from the previous film.

In a nutshell, many of the typical, eye-catching gimmicks are superficial and empty: It’s no surprise that M3GAN can dance, or transform into a flying squirrel suit and glide through the woods, or have a car reminiscent of “Knight Rider” blaring its theme music. These elements might provoke an initial laugh, but they mainly serve as reminders that modern-day inventors aspire for their childhood toys to become real, often lacking genuine ingenuity.

Johnstone’s jokes, what captivates me, are those that seldom feature M3GAN. The unexpected chuckle in the initial film arose when a detective chuckled while detailing a little boy’s murder. We understand killer dolls, but this was an archetypal cop character, usually adhering to his programming, acting otherwise. In this sequel, that humor has spread like wildfire — it’s present in every scene. This suggests that human behavior is fundamentally peculiar and unforeseeable.

The robot might be the main attraction, but I’d still catch “M3GAN 2.0” for its human elements. Plus, don’t forget about the closing credits warning: “This production is not intended for use in training artificial intelligence.” Here’s to hoping it all works out!

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2025-06-27 00:01

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