Asimov’s Three Laws of Robotics have become so ubiquitous throughout science fiction that it’s difficult to imagine a setting, especially one dabbling in Artificial Intelligence, that doesn’t employ them. Even in real life, the current rise of machine learning algorithms that are trying to take the place of artists, writers and creatives by allegedly stealing original works and flaunting copyright laws, are ignoring a tenet that has been in place since 1948: a robot may not injure a human being or, through inaction, allow a human being to come to harm.

The same obliviousness is present in new sci-fi horror film M3GAN thanks to profit-hungry fictional toy company, Funki. Funki are purveyors of annoyingly loud and colourful interactive toys – basically Furbies called PurrPetual Petz, and their design is spearheaded by roboticist Gemma (Get Out’s Allison Williams). Convinced there is so much more an interactive toy can do, though, Gemma is secretly working on her passion project: the Model 3 Generative Android, or M3GAN. A life-size and lifelike doll, M3GAN is designed to watch, listen and most importantly, learn, using adaptive programming to improve herself so she can excel in the role of “best friend” to any child.

After a tragic accident, Gemma suddenly becomes the caretaker of her orphaned eight-year-old niece, Cady (Violet McGraw), something she obviously didn’t have in her life plan. Under pressure at work and completely out of her depth on how to deal with a grieving child, Gemma fires up the M3GAN prototype and pairs it with Cady. This way, she can kill several birds with one stone: have someone to take care of Cady, work on improving M3GAN, and convince Funki’s CEO David (Ronny Chieng) that this is the future of toy sales. What could possibly go wrong? 

From haste, naivete or just lack of forethought, Gemma neglected one thing when it comes to M3GAN: ethical protocols. Indeed, when you give an AI a directive – say “protect this child from emotional and physical harm” – it’s useful to have a framework in place to define what “harm” means, and where to draw the line. Predictably, things take a turn for the worse as M3GAN’s emergent capabilities learn at a lightning-fast pace, with no moral boundaries.

Gemma Allison Williams and Cady Violet McGraw in ‘M3GAN’, directed by Gerard Johnstone. Image:(from left) M3GAN and Cady (Violet McGraw) in M3GAN, directed by Gerard Johnstone. Image: M3GAN and Cady Violet McGraw in ‘M3GAN’. Image: M3GAN / Supplied

While you’re watching M3GAN, don’t expect any thoughtful explorations of topics such as society’s reliance on technology, the dangers – and opportunities – of AI replacing human function, and the younger generations’ simpatico with devices over personal interaction, despite all of these being particularly topical. Barely touched on, these ideas exist only as a hastily sketched backdrop for M3GAN’s reign of terror.

Just as indistinctly defined are the rest of M3GAN’s cast, filling roles that are barely more than clichés, like evil tech-bro and generic, supportive colleague. Both Williams and McGraw do well enough, exploring familial grief, frustration and resentment, though they can’t outshine the literal star of the movie, M3GAN. Portrayed physically by Amie Donald and voiced by Jenna Davis, the character of M3GAN is captivating, convincing and chilling in equal measure. M3GAN is also a prime example of special effects done right. The doll combines practical work like animatronics and puppetry with CGI enhancements – as well as Donald’s well-considered movements – to create something that is the definition of uncanny valley.

Thanks to the strictly PG-13 rating, M3GAN isn’t gritty, or overtly gory, leaning hard instead in the direction of jump scares, campy horror and sometimes, outright silliness. Until around the halfway point, you get the sense that it could have been darker; more unsettling. Instead, director Gerard Johnstone increasingly dials up the flippancy and quotable one-liners for the entertainment value, taking the character M3GAN further and further away from how she’s introduced as a precocious child, to become a bitchy Mean Girl.

(from left) M3GAN and Cady (Violet McGraw) in M3GAN, directed by Gerard Johnstone. Image: M3GAN and Cady Violet McGraw in ‘M3GAN’. Image: M3GAN / Supplied

When the first trailer for M3GAN released, it instantly went viral, which helped to generate a lot of hype for the film. You can tell by the movie’s iconic TikTok hallway dance, which segues into murder, that this is not a project that takes itself seriously. And if that’s the type of horror that appeals to you – more aligned with Chucky than with Annabelle – then book your ticket and grab your popcorn. 

M3GAN is written by Malignant’s Akela Cooper, who came up with the story alongside her Malignant director and horror maestro James (Saw, The Conjuring) Wan, and much like that 2021 release, M3GAN starts out serious before becoming more and more ridiculous. That won’t be to everyone’s taste.

There’s also no ignoring the fact that M3GAN is predictable, in both execution and ending. If you’re looking for something with a greater amount of meat on its bones and were curious about the film’s success overseas, you’ll probably feel that M3GAN has been overhyped. You can see exactly where it’s going, though it’s still a wild, and frequently entertaining ride to reach the credits. DM/ML

This story was first published on Pfangirl.com

M3GAN is showing in South African cinemas from 13 January 2023.

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