Allison Williams and Violet McGraw reprise their roles in director Gerard Johnstone’s breathless sequel.
In this modern age of filmmaking, there are sequels, there are prequels, there are spin-offs, there are new installments in a franchise, there are re-imaginings, there are live-action versions of animated originals, and there are animated versions of live-action movies.
And then there is the rare gem that knows it’s probably just a cash grab, yet is determined to expand its universe and make something of the opportunity to have some demented fun. Count M3GAN 2.0 as the exception to all the rules that have been established.
On the one hand, the sequel brings back its two leading characters — Gemma (Allison Williams) and her niece Cady (Violet McGraw) — and places them into an environment that feels worryingly similar to the original’s premise, which roboticist neglected her grieving niece after the death of her parents and dashed together a robotic companion to keep her company and the protect her at all costs.
The original robot, called M3GAN, violated Isaac Asimov’s Three Laws of Robotics with reckless abandon, initially empowering and then, ultimately, threatening Gemma and Cady. The sequel picks up after the events in the first film, as a U.S. intelligence service deploys a military robot it has dubbed AMELIA, only to see the robot disobey orders, murder everyone in sight, and then disappear.
Now ensconced in a so-called smart home that is maxed out with devices powered with Artificial Intelligence, Gemma has placed firmer limits on Cady’s use of smart devices, leading the child to learn aikido, the Japanese martial art, and worship at the altar of former action star Steven Seagal. Cady is now 12 years old; she is inherently insolent and still whip-smart, so it’s obvious that she has already figured out ways around Gemma’s restrictions.
Indeed, much of the film’s plot twists and turns are pre-ordained, if not all of them. What keeps M3GAN 2.0 from succumbing to sequel-itis is that director Gerard Johnstone launches into a brisk pace from the outset and then keeps stepping it up, until events are whirling by at breakneck speed. In this way, even a trope that now feels quite shopworn and overly expected, like “the dangers of A.I.,” pass by as part of the scenery. The details are not important; they are all MacGuffins that exist solely so that M3GAN can ride to the rescue.
Some of the film’s influences are broadly obvious, like T2: Judgment Day, while others are signaled by a music or visual clue. Again, the influences are less important than what Johnstone does with them.
This time around, scripter Akela Cooper, who brought great warmth and relatability to the domestic tensions depicted in the original, along with wild ideas to how the story developed and resolved, was only involved in devising the story with Johnstone, who then wrote the screenplay solo. The script reflects his somewhat different perspective; it seems like the original was told through young Cady’s eyes, while the sequel tells things more from Gemma’s perspective, perhaps reflecting some of Johnstone’s own experience of raising two children.
Thus, Gemma is a deeper and richer character, dealing with her own guilt and regrets over the mistakes she made in the original film. Consequently, she is more reluctant to pull certain triggers without clearer safeguards in place, and that contributes to the dangers that arise.
Allison Williams and Violet McGraw bring new notes to their developing characters, while Brian Jordan Alvarez and Jen Van Epps are somewhat more assertive in reprising their roles as supporting lab scientists Cole and Tess. Also returning from the first film are Amie Donald and Jenna Davis, who provide M3gGAN’s movements and voice.
Jemaine Clements is suitably haughty and cocky as a silly tech billionaire. Aristotle Athari is a possible tech-wise suitor for Gemma, and hangs around looking slick and handsome. Ivanna Sakhno is a knockout as the letha, robotic knockabout AMELIA.
In its PG-13 version, which is the version releasing in theaters, M3GAN 2.0 is a brutally funny thriller that occasionally pulls its punches to secure its rating. As with the original, I wouldn’t be surprised to hear that an unrated version will soon be released with more blood and guts and “adult” language.
As it is, though, the film is fast and furious, easily decimating one obvious target — Artificial Intelligence — while deftly touching on deeper issues of change and growth and trust. And dancing with the one that brought you.
The film opens Friday, June 27, only in movie theaters. Visit the official site for locations and showtimes.
Dallas Film Now. 