M3gan: the review

M3gan is a 2023 film, directed by Gerard Johnstone.

The new horror phenomenon has long, light brown hair and big blue eyes so deep you almost fall into them. It’s Megan – stylized as M3gan -, a little more than a meter tall doll and at first sight a child to all intents and purposes. Gone are the days of his plastic predecessors, of puppets operated with handcrafted or patched-up mechanisms. Here we are faced with a technology so futuristic as to be frightening and this is precisely the most terrifying element of the new Blumhouse jewel. It’s something that was born to keep up with the man and that, at a later date, takes the lead…and not in a kind way. Mind you, it’s not the first time that cinema has warned against scientific progress, but M3gan it has something more, something fresh. Cady is an 8-year-old girl orphaned of both parents, victims of a car accident in the snow in which only she survived. After leaving the hospital, she is entrusted to her aunt Gemma, an employee of a company that designs the latest generation toys, in step with the times and even beyond.

Naturally, the little one has difficulty overcoming the trauma of the loss and Gemma doesn’t seem to know how to take it in the right direction. To make up for this lack of hers, she takes over a project, previously canceled by her boss, of a super-efficient doll with human features and a high level of intelligence, both cognitive and emotional. Her name is Megan and Gemma makes her a prototype to whom she can entrust the well-being of her niece. The robot effectively becomes a member of the family and Cady seems to benefit from his presence and her attentions. Megan’s intelligence, however, goes beyond the original plan and she will take all too literally the purpose for which she was created to protect Cady from anything she can do her harm. Read the names of those behind the idea of M3gan you can already get an idea of ​​what you’re going through. Jason Blum turns everything he touches to gold, and story writer and producer James Wan has dealt with killer dolls before in his career in one form or another, from Saw to the puppet of dead silence up to Annabelle. Megan is the arrival point of a personal evolution of the Malaysian director as well as of the entire horror genre that he has entrusted to the toy par excellence the key to fear. The killer doll in question brings back the discourse of artificial intelligence, of the progress of science, but also of the danger they could represent in human life.

Megan becomes the go-between for Cady, guardian of her secrets and her emotions, what Gemma – played by Allison Williams, already seen in Get Out – fails to do. The little girl sees in Megan the parental figure that she no longer has and that the aunt fails to be. It is therefore very easy for the doll to introduce herself into the life of the family, taking complete control of it and then acting in complete autonomy. Megan’s design is subtly studied to please and be accepted, on the other hand it is a toy that is about to be launched on the market as the greatest revolution since the invention of the automobile. She’s pretty, well dressed, thoughtful…too much, perhaps. The film starts and builds like a family drama and then erupts in tension towards a terrifying ending, a narrative process that those who appreciate Blumhouse are familiar with. It works, there is little to say. M3gan it has nothing supernatural and this is precisely its strength. Veering towards science fiction, he rediscovers a freshness that the vein had lost by relying exclusively on the paranormal. There is talk of a sequel and perhaps in this case it is natural to say: welcome!

M3gan: the review – Nocturno