‘M3gan’ review: Dir. Gerard Johnstone (2023)

Unless you’ve been on a social media blackout you’ll have already met the star of this week’s newest horror release, M3gan. Since the trailer launch, the robotic doll with murderous intentions has been catapulted into the spotlight, thanks in part to her ability to dance. M3gan is the latest collaboration between Malignant director James Wan and writer Akela Cooper. Wan of course is no stranger to dolls; almost all of his horror movies feature them in some form or another. This time around his central doll gets an upgrade in the form of an artificial intelligence that becomes self-aware and very territorial. Serving as producer, Wan hands the reins over to Housebound director, Gerard Johnstone. The new addition completes a devilish Unholy Trinity, one which may have just birthed the next horror icon.

Opening with an advert that brilliantly encapsulates and skewers the current children’s toy market, M3gan sets its tone early. This is not a film that takes itself too seriously. These ads lean into that Paul Verhoeven’s Robocop level of satire. The inclusion also provides some early information that will become important later, namely toy company FUNKI and their interactive toy, Purrpetual Pet. As the advert for the newest Purrpetual Pet ends, M3gan joins young girl Cady (Violet McGraw) and her parents. The trio are on vacation, but as Cady’s parents argue about screen time, tragedy strikes. 

In the wake of the accident, Cady is placed into the custody of her Aunt Gemma (Allison WIliiams). Gemma works for FUNKI and designed the Purrpetual Pet, but has been working on a super secret prototype. That project is revealed to be M3gan (Model 3 Generative Android), a life size real-life artificially intelligent companion. In need of testing, Gemma brings her home. Cady and M3gan are paired and whilst initially their bond seems to be helping Cady, it isn’t long until M3gan is too invested in her human friend and the bodies begin to pile up. 

James Wan and Akela Cooper have distilled the chaotic camp energy of Malignant, which director Gérard Johnstone unleashes with brash ferocity. There isn’t a lot of subtlety to the character of M3gan (played by Ami Donald and voiced by Jenna Davis). The camera lingers and zooms in on her after each person slights Cady, and heavily signposts to the audience that something is going to go down. Scenes of M3gan’s wrath are gleefully wicked, borrowing from the Chucky series framework, but forgoing the gore. There’s a malice to M3gan’s actions; her punishments are on the nose and cruel, but though the set-up is built well, the camera always cuts away at the last instant. The lack of ‘payoff’ won’t be to everybody’s tastes, but does allow M3gan to work as a gateway horror.   

Hidden amongst all the silliness hides some interesting commentary around technology and its place in the home. From the opening conversation around screen time, M3gan analyses the impact that technology has on young minds. Whilst computers, home assistants, and smartphones can be used as tools to aid the growth and learning of children, too much can be bad. It’s an easy crutch for parents to lean on, often providing the only moments of respite in an otherwise never ending barrage of questions and demands. Gemma is not a parent however; she’s a work focussed young woman who constantly uses machines for her job. Her own reliance on technology leads to her mistake of introducing M3gan into the homestead. 

With no children of her own, Gemma is new to the world of parenting and her journey  echoes the experience of first-time parents as they navigate the minefield of emotions that the young possess, especially those that were trying to entertain their children during the lockdown. Her mistakes are ones that many parents in the audience will identify with and M3gan weaves in plenty of conversations about the implications of a child forming intense attachments to technology. The film of course pushes this message into exaggerated (and hilarious) territory, but the core idea carries weight. As M3gan demonstrates, an AI machine can never replace the nurturing love of a parent or guardian. By establishing this concept so well, it makes the dynamic between Gemma and M3gan more compelling. 

Another facet to their relationship comes via the traditional creator / creation trope. M3gan happily riffs off of the Frankenstein story with Gemma placed as Frankenstein and M3gan her creature. This aspect is less honed, but exists, coming into play best during the final act of the film. Although driven by her work, Gemma isn’t quite as intense as Doctor Frankenstein, but it still makes for an interesting, almost subconscious, through-line for the narrative. It’s just one other idea that cuts through the sillier aspects of M3gan, providing more food for thought on the inevitable re-watch. 

As fun as M3gan is, there are some narrative and pacing issues. Whereas in Malignant there were shocks and surprises along the way, M3gan sticks to a more familiar route. It also both under and overcooks the ending. After spending plenty of time building the bond between Cady and M3gan, highlighting the intensity of their bond, the severing of it is too quick. M3gan is suddenly whisked away and thrust into the endgame plotline. It is rushed to the point of whiplash. Then the climactic showdown takes up too much of the final act. It becomes a never ending barrage that quickly becomes repetitive and runs out of steam. Until that point though, M3gan is pure campy horror fun. 

M3gan borrows heavily from other works of fiction, chiefly working as Malignant meets Chucky, with a dash of nineties thriller (a la Single White Female) for good measure. It’s sure to be a fun cinema experience thanks to Johnstone, Wan, and Cooper, as well as the cast’s ability to embrace the sillier side of horror.  Prepare to meet the latest initiate into the horror hall of fame. 

M3gan is released in UK cinemas on Friday 13th January 2023.