With AI becoming more prevalent in contemporary life, this new movie talks of the need for humans to coexist with robotics technology, with legal safeguards in place
M3GAN 2.0
Film: M3GAN 2.0
Cast: Allison Williams, Violet McGraw, Amie Donald, Jenna Davis, Ivanna Sakhno, Brian Jordan Alvarez, Jen Van Epps, Aristotle Athari
Director: Gerard Johnstone
Rating: 2/5
Runtime: 120 min.
A rather dissatisfying horror sequel ‘M3gan 2.0’ with director Gerard Johnstone helming again, trying the same old tricks, this film gets a contemporary makeover even as it wallows in the same old schtick.
With AI becoming more prevalent in contemporary life, this new movie talks of the need for humans to coexist with robotics technology, with legal safeguards in place.
Internet virality, a dance number and a melodramatic break into song makes M3GAN 2.0 a tattily funny, not so serious exercise in horror sci-fi comedy thriller.
We get to meet AMELIA(Ivana Sakhno) somewhere on the Iran-Turkish border, a M3GAN-like elevated glam bot intended to be a government weapon. She gets out of control, kills her way out of federal jurisdiction and enters the US to commandeer all of America’s artificial intelligence.
Gemma (Allison Williams) is now against technology in general, refusing to ever build another bot, despite a tempting offer from British billionaire and tech-giant Alton Appleton (Jemaine Clement). But once she hears of AMELIA’s antics, which involves hacking into cloud servers, causing a national blackout and aiming for an authoritarian takeover, she has no alternative but to update M3GAN to make her faster, stronger, and more lethal.
M3GAN 2.0 (played by Amie Donald & Jenna Davis) is still funny, though much more vulgar, and bags a bigger body count. There’s more creativity in the kills, but without much bloodletting. The humor is forced, the plot feels unnecessarily complicated and the espionage elements feel forcibly planted. There are amusing moments but largely this attempt feels incomprehensible and incoherent.
Though timely in terms of contemporaneity, the scenario seems implausible the way it is played out here. The subplots are meaningless, flimsy and silly and the pause between jokes feel stilted. The protracted climax and the many twist and turns within tax you beyond bearing.
Cinematographer Toby Oliver’s slick widescreen visuals lends the movie some gloss. But the narrative becomes a drag with confusion spiraling around how to stop AMELIA. The 2-hour runtime, though not overly long, is quite a drag.
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