TFW potentially thoughtful science aims for the kiddie pool.
After many years and two failed attempts, researchers of synSECT Systems have made Morgan (Anya Taylor-Joy), a fully synthetic human that can express feelings. She is almost everything they designed — “almost” because they can’t seem to keep her violence in check. After stabbing one of her caretakers in the eye, synSECT sends a consultant, Lee Weathers (Kate Mara), to meet the researchers and determine if Morgan should be terminated.
The reason I watch films named after a character is to find out who they are. Despite the “what is she?” running theme, marketers of “Morgan” find it best to have a trailer answers that question — had the confusion ended there.
If Seth W. Owen’s screenplay wants to incite discussions, it didn’t dig deep enough. But if all “Morgan” wants to be is a popcorn, science-as-a-backdrop thriller, the proceedings are exceptionally safe and obvious. Forthcoming events happen as predicted; past events are briefly delivered; characters are haphazardly built and never grow to demand your concern when the third-act carnage begins. As a result, the ensemble of capable performers and the additions that they have brought, including contrasting personalities and flourishes of diversity, feel like a wasted effort.
Nonetheless, I admire the effort they have put in to make their characters and interactions impactful, even with just the tiny quadrant of characterization and significance the writer has given them. Taylor-Joy and Leslie are a enthralling to watch — especially the former whose eyes are inquisitive, threatening and childlike. Sometimes Taylor-Joy can portray them all at the same time, effectively portraying herself as an advanced, if unhinged, being. Mara feels right at home in this film: her character calls for piercing-yet-alluring kind of coldness and calculatedness that the actress exudes.
Perhaps influenced by his father, Ridley Scott, director Luke Scott uses crisp, clean visuals that give bursts of life to the overall uneasiness. Even with a dominating gray palette, the images never bore — some even successfully evoke a fairy-tale atmosphere, despite obvious modern-day inclusions. Save for the fight scenes, cinematographer Mark Patten’s compositions are almost therapeutic, even in chaotic moments, and bonds tightly with Max Richter’s insidious score.
But all this dressing up is secondary in a genre where the story is the backbone, where the what-ifs and questions are essential. I don’t need “Morgan” to generate new ideas, but can the film treat us like we’re older than 5 when it reuses existing ones?
Morgan
Anya Taylor-Joy (Morgan), Kate Mara (Lee Weathers), Rose Leslie (Amy), Michelle Yeoh (Dr. Cheng), Toby Jones (Dr. Ziegler)
Directed by: Luke Scott (debut film)
Written by: Seth W. Owen (“Peepers”)
Music by: Max Richter (“Disconnect”)
92 min., R
Release date: Sept. 2
5.5 out of 10.
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