M3GAN

Nowadays, our lives have been significantly impacted by technology, including the Internet
of Things (IoT), and some examples of it are A.I. technology. Like the latest production from
Blumhouse Productions, it has produced a movie that starts with an unimpressive doll that
literally became a homicidal threat, M3GAN, which has taken the short form name from
Model 3 Generative Android, as a provider of superb horror to the audiences. Then, this
crackling movie is at least as connected to science fiction's historical suspicion of artificial
intelligence as killer-doll portraits like Chucky, The Devil Doll, and Annabelle, which are
likely to be included in the same category as them. This movie is a close cousin of Demon
Seed's psychotic computer and 2001: A Space Odyssey's HAL. It (she?) is also a clever
metaphor for modern dependency, as we'll see. M3GAN also premiered in Los Angeles on
December 7, 2022, and was distributed theatrically in the United States by Universal Pictures
on January 6, 2023. M3GAN is an American science fiction horror film directed by Gerard
Johnstone. M3GAN is about a child-sized humanoid robot doll powered by artificial
intelligence, designed to be the ultimate companion to anyone who comes between her and
her human.

M3GAN, a marvel written by Akela Cooper from a story by Cooper and James Wan (who
also created it with Jason Blum), has also become a sensation. It’s difficult to tell when she's
real, when she's artificial, and when she's a mix of puppets, animatronics, VFX, and a human
actress (Amie Donald, with a voice by Jenna Davis). M3GAN's audio design undoubtedly
contributes to the character's fantasy. As M3GAN moved, the audible hum of gears and the
rhythmic clicks of mechanical parts filled the air. M3GAN emits a quiet sound that's not
extremely loud but still loud enough to indicate that she is a robot. Jenna Davis sounds both
humorous and serious in her vocal performance for M3GAN, which is extremely joyful. The
film is not without conflicts. There were a couple of minor story details that felt thrown in,
including the inclusion of corporate espionage mentioned in passing, but disappointingly, it is
never given the attention it deserves within the story, and the film would have been fine
without it. The film also takes its time before introducing any kind of risk, but M3GAN is
entertaining enough to keep the narrative moving. The M3GAN concept is like what
Variety's Owen Gleiberman called M3GAN: an enjoyable fantasy film with a strong feeling
of self-abstinence that is witty, sarcastic, and completely evil. A perfect blend and maybe it's
not as shocking as Malignant, but it's like witnessing Mean Girls' queen bee Regina George if
she'd been handed a knife and a death wish.

A more disturbing cut may be released on home video, but director Gerard Johnstone made
the commercially wise choice to reduce the film's rating to PG-13 in the United States. Even
with these compromises, it's the best Blumhouse horror film in years, easily outperforming
the likes of Halloween Kills and The Black Phone. Furthermore, when the mask is removed,
the sheer terror intensifies as M3GAN takes on her ultimate shape and stares into the dark
depths of her own circuitry. The New York Times' Erik Piepenburg characterised M3GAN as
"the gorgeous and loyal but messy and insolent woman." The PG-13 classification also
reduces the number of deaths. Those searching for the unexpected are unlikely to find it. It
lacks a surprise, but it is an odd, bizarre film. With his second picture, director Gerard
Johnstone hit it out of the park. It's not typically frightening, but it is terrifying. As the world
advances in AI and automation, these types of technologies will become more widespread.
Discover it here, but that doesn't make it any less entertaining. Brian Truitt of USA Today
awarded it three out of four stars, praising its effects and ironic elements. Chron.com's A.A.
Dowd noted the presence of "some real ideas flowing through the film's B-movie code" and
wrote, "If the film is rarely very frightening (the kill scenes lack both suspense and true holy-
shit grisliness), it often works like gangbusters as an over-the-top horror comedy whose fun
rests on a toy box full of priceless leering-doll reaction shots and cutting remarks. The film
received two out of four stars from Randy Myers of The Mercury News, who wrote that it
"stocks up on jump scares and keeps the violence PG-13 but fails to make us care about any
of the characters that are humans in M3GAN's route".

The Guardian's Peter Bradshaw gave the film three out of five stars, calling it a "cheekily
enjoyable chiller" and writing, "Adroit ironical details regarding dolls serving as bad
role models, dolls as parodies of intimacy and sensitivity, and tech itself as a manipulative of
controlling children, with kids given iPads the way Victorian children were given alcoholic
gripe water. Meagan Navarro of Bloody Disgusting similarly commended the effects and
performance work involved in portraying M3GAN and complemented the film's comedy but
called the course of the story "well-telegraphed" and added, "Save for a few jump shocks,
there's an overt reserve with the horror. Tyler Doupe of Dread Central also awarded the film
three out of five stars, claiming its lack of terror elements and "somewhat two-dimensional"
human characters but writing that its comic elements, "combined with the eventual build to
an exciting conclusion, made the film worth my time.

In fact, M3GAN is a rare movie that succeeds on almost every level, with each character,
scene, costume, and joke firing on all cylinders to make a film worth repeated viewings.
Overall, it received an approval rating of 93% based on 301 reviews, with an average rating
of 7.1/10. On Metacritic, the film has a weighted average score of 72 out of 100, indicating
"generally favourable reviews". Audiences surveyed by Cinema Score gave the film an
average grade of "B" on an A+ to F scale, while those polled by Post Trak gave it 3.5 out of 5
stars. Mason and King Bacon both praised the movie for portraying the negligence of young
parents leaving their kids to their own devices for support and the consequences of it. The
true horror of the movie lies in the thought of how far AI can get on its own, in the thought
that humans can be replaced, manipulated, and controlled and that it can do anything a human
can, but better.

This cautionary story about the dangers of technology contains some pretty apparent
foreshadowing. Will Gemma's gigantic robot, which has been busy in her study, be activated
at some point? Yes, and M3GAN could be a little more dramatic when it eventually let’s go.
But it's far too much fun to get caught up on the specifics, and Williams is in Get Out form as
the rapidly fading Gemma, playing it straight while her creation wreaks horrific disaster and
delivers sassy one-liners, and everyone here, from director Gerard Johnstone to the actors,
understands that the film's new TikTok phenomenon is the protagonist here: the walking,
talking, hacking, and slicing living doll. She's a delight, which is fortunate because M4GAN,
MEG5N, and ME6AN are almost certainly already in the lab. But there are also some
glimpses of societal criticism of how contemporary moms and dads use technology to
delegate parenting, and this film is clever enough not to take itself too seriously. The film
begins with a funny commercial for a high-tech version of a Furby, and then a young girl
named Cady (Violet McGraw), who needs to take control of her responsibilities because of
her parents' loss in a car accident, is sent to live in geeky Oregon with her distracted Aunt
Gemma (Allison Williams). Gemma is the creator of the not-furby doll and is now working
on the far more refined doll referenced in the film's title. She carries M3GAN home to help
Cady cope with her loss and link Cady to M3GAN after doing extensive work and upgrades
on the doll. M3GAN is a doll designed to be Cady's best friend, bringing her into Cady's life.
Nothing goes wrong, and no one gets their skin chewed off at first. Gemma brings Cady and
M3GAN to work to officially show her off to David (Ronny Chieng) and others to convince
them of the project's potential for success on the edge of breaking into the toy market. This
aggressive and hilarious scary doll film joins Gremlins and Chucky in the cinema's playroom
of horrors. How cool would it be to give your kid a self-aware A.I. companion with deep fake
empathy and strange silicone skin, eyes like surveillance cameras, and hands that can
embrace like a sister or grasp like a vice? Obviously, even the Omen films and Orphan
(2009) are sprinkled throughout the DNA of this film, but this doll's not about being bonds
with the spirit but nothing else besides being programmed for her to keep on constant alert to
protect her teenage owner, a lonely youngster named Cady, and this would be completely
awful, as this delightfully spiky comedy-horror is all too conscious, even if its dopey, tech-
trusting characters take a while to realise.

Meanwhile, Gemma’s toy company sees this attractive new doll as a wonderful opportunity
to launch their own rocket. Gemma is under strain to meet her testing deadlines, and she is
steadily transforming into a sort of Genius Bar Chucky. It always keeps you in on the joke,
and it's a great one. The doll itself is a marvel of creature design and technological effect, like
a living uncanny valley of the malicious. M3GAN is wonderfully smooth, with shocking
sequences and a goofy, convincing style typical of Paul Verhoeven's sci-fi masterpieces that
perfectly capture the essence of his movie. M3GAN is accompanied by a hushed whirl of
data and automation as she adjusts to her new settings and playfully bonds with her young
owner. M3GAN's early versions fail in awful ways, with gaskets bursting and her appearance
melting. Gemma's obnoxious tech-bro supervisor (Ronny Chieng) is eventually impressed
when the doll imprints on Cady, who has no pals and, uh-oh, is not being properly parented.
The prim, blonde doll, who is nowhere near as clearly villainous in look as Chucky, permits
her connection with Cady to draw her into ruinous acts of revenge. Gemma takes a while to
catch on, but that is how popular entertainment works. Akela Cooper, the superb Malignant
author, has a lot of fun teasing out tensions between a toy and a mature person. When the AI
addresses the topic of death, her keepers encourage her to "not make a big deal out of it". The
competitive leader of the toy business (Ronny Chieng) is motivated to shed new light on the
country where he grew up, and what really lends M3GAN significance are the links between
our addiction to technological handheld devices as toddlers and adults. Cady's growing
fixation with the talking doll makes her refuse to do some outdoor activities, and it's kind of
hauntingly like the modern human's addiction to the smartphone. Even this comparison is not
pointed out too much, but it digs uncomfortably into the mind.
Don DeLillo's point in White Noise, Noah Baumbach's new film version of Don DeLillo's
novel, and an example Hitler Research, as in the film and book, is approached as a perfectly
normal type of academic department to establish that even though it was an odd and largely
unnoticed decision, why all of these company titles and phrases that keep popping up? This is
reflected in many sequences in the film, where the film's grocery store settings immerse
audiences in a meticulously recreated era with their vibrant colours and prominently
showcased products, from washing detergents to milk containers and specific varieties of
gum. Jack suddenly brings up the Airport Marriott, the Downtown Travelodge, and the
Sheraton Inn and Conference Centre after considering how much he adores Babette. There is
a high-end, murderous mechanical doll in town who is perfect. M3GAN, an abbreviation for
"Model 3 Generative Android," is a take on Chucky from Child's Play: Consider him a
mechanised she, dressed to murder and frighteningly perfect, with the capacity to murder.
There's a top-tier homicidal mechanical doll in town, and she's perfect. M3GAN, which
means "Model 3 Generative Android," is a mechanised she, outfitted to kill and terrifyingly
flawless, with a knockout ability to belt out Sia's "Titanium" while also being ready to end
people with ninja techniques. Marketed effectively to Gen Z for her meme value alone,
M3GAN is basically the antagonist of the horror film that leans far more towards the "campy
fun" end of the spectrum than the original fear end. Nobody will be wailing in their chairs
during her slaughter campaign, but that was never the goal.

During an outdoor activity session for an alternative school, Cady forcibly brings M3GAN
despite Gemma saying she couldn't. During the activity, Cady grabs a spiky bulb, which
Brandon squeezes her palm into to hurt her. M3GAN then appears, and Cady yells for
Gemma, which worries Gemma more. M3GAN starts operating more independently and
targets anything that she deems a threat to Cady. She kills Gemma's neighbour Celia's dog
after it attacks both her and Cady. The only issue is that someone forgot to include a
conscience device, and Gemma should start keeping an eye on her. Later, M3GAN attacks
Brandon (Jack Cassidy), a boy who is bullying Cady, and pulls off his ear. At home, Cady
asks M3GAN if she pushed Brandon onto the road, which M3GAN appears to dodge for an
answer but reassures Cady she will protect her from harm.

Suddenly, a scene is shown in which Gemma runs into her office and M3GAN wants to catch
her, which they begin to fight. Cole (Brian Jordan Alvarez) and Tess (Jen Van Epps) attempt
to shut down M3GAN, but she attacks them both and blows up their lab. In addition, the
scene of M3GAN that was physically modelled by motion capture on 11-year-old Amie
Donald, who did her own actions, including a wild moment racing on all fours, as well as
assisting to create a spontaneous dance piece in an office hallway, has become a huge hit due
to its humorous tone and dance sequence, which has become the stuff of memes. However,
there is no context to explain why it occurs, making it come off as a moment "made for the
trailers". The result is a lively set of sashays that kill, thrill, and confuse. The TikTok users
are also labelling this sassy routine "iconic," with hashtags like "slay, queen!" and all that
jazz. After escaping the room, M3GAN kills both David and his assistant, Kurt. Gemma (Jen
Van Epps) attempts to shut her down again, but M3GAN overpowers her, and the two end up
fighting. Cady uses a robot that Gemma created in college to tear M3GAN apart, but
M3GAN's head and arms remain active, and she attempts to kill Cady in response. Gemma
exposes M3GAN's interior and goes for her processing chip when M3GAN begins to choke
her, until Cady stabs the chip with a screwdriver. Gemma attempts to stop M3GAN,
damaging and disfiguring her in the process, but M3GAN ultimately overpowers her. Cady
saves Gemma, using Bruce to tear M3GAN apart, but M3GAN's top half remains active and
attacks Cady. The last scene also showed that it was going to be a sequel to M3GAN. So, let's
wait together for its sequel.

In my opinion, this film really attaches my interest because it is about the current reality of
the world. This movie is about a lonely girl who is unable to adjust to the real world due to
her disability. It is not unusual for children to struggle with adjusting to the "real" world,
especially in today's digital world. One potential reason for this is that children may spend
more time engaging with screens than with real people or environments. Anxiety,
melancholy, or sensory perception problems can also contribute to problems adapting to their
surroundings. If a child is having difficulty adjusting to life in the real world, it may be
beneficial to seek the assistance of an expert, such as therapist, or educational specialist.
These experts can provide evaluations and treatments that are customized to the child's
specific needs, such as methods for building social skills, resolving anxiety or sensory
processing issues, and encouraging healthy behaviours related to screen time and technology
use. Children can acquire the skills and strategies they need to flourish in the world around
them with the proper help and interventions.

In conclusion, M3GAN should be a recognisable movie because it involves so many values

for us to take and apply in our lives, and one of them is that we cannot rely too much on
technology because we cannot develop our skills in communication or thinking through it.
Second, we must learn to appreciate our family no matter how busy we are with our daily
careers or work. Thirdly, we also learn that AI systems are only as unbiased as the data on
which they are trained. If an AI system is trained on biased data, it may continue to reinforce
existing stereotypes and prejudices, leading to biased recommendations and decisions.
Finally, in the end, even the characters of M3GAN know how pointless their prolonged
existence is. But the plot, much like every minute of this thriller, is far too addictive to give
up until the bitter end, and even without the novel or even the revolutionary concept,
M3GAN could still be a great movie. It might not even be "much gory." But the power of the
film lies in the beauty of passing time and little, inconsequential moments, which could only
be captured over 12 years of shooting. Make M3GAN the latest essential film for anyone
interested in the art of film."
 REFERENCES

 MEGAN Review: Killer Doll Movie Sets the Bar High for 2023 (collider.com)
 ‘M3gan’ Review: Wherever I Go, She Goes - The New York Times (nytimes.com)
 M3GAN - Wikipedia
 M3GAN - Movie Reviews (rottentomatoes.com)
 https://www.youtube.com/watch?v=BRb4U99OU80&ab_channel=UniversalPictures
 Cady James | M3GAN Wiki | Fandom
 Gemma (M3GAN) | Heroes Wiki | Fandom