M3GAN, review: the evolution of techno

M3GAN debuted in Italian cinemas, Jason Blum’s Blumhouse partnership with James Wan’s Atomic Monster, creator of horror franchises The Conjuring And Insidioussupported by Gerard Johnstone’s direction of the horror comedy Houseboundsucceeded where rebooting de The killer doll, reimagined as a haywire artificial intelligence, had failed miserably. Where the robot Chucky managed to be little more than a pale copy of the supernatural Chucky, the robotic M3GAN not only stood up to the demonic possessed doll Annabelle, but launched a new spine-chilling horror icon, capable for once of not doing look at the overused term “campy” as an insult.

As happened with Freaky, a slasher-style story unfolds on the screen, but equipped with an irony so blatant as to be irresistible. “M3GAN” takes some elements of the techno-thriller genre and revises them playing on the edge of horror parody, unleashing laughter that becomes a welcome interlude between one murder and another. M3GAN thus becomes the absolute protagonist, stealing the scene at every shot and transforming the flesh-and-blood actors into little more than supporting actors; mere “shoulders” of a sophisticated “toy” who goes out of control and becomes a serial killer out of love, a pure and destructive feeling of a surrogate mother programmed to protect her offspring from harm, but who with her emotionless actions becomes itself that evil.

Screenplay by Akele Cooper, writer for TV series such as Grimm And American Horror Story who had already shown that he knows how to play with the horror genre in the slasher Hell Fest and in the surprising Malicioustakes elements such as lethal AI and killer robots, which in the eighties and nineties depopulated with cult like Runaway, Born in 1999L’Hardware – Lethal Metal by Richard Stanley and the Virus with Jamie Lee Curtis. The technology that evolves to become our friend and help us in everyday life, which at a certain point for the most varied reasons develops self-awareness, rebels and as in Thrill by Stephen King literally goes crazy and becomes an enemy to face, a killer to escape from, something to fear.

“M3GAN” displays quotes ranging from Robocop to terminatorspassing through The killer dollbut in our opinion the plot is much more reminiscent of that of Man’s best frienda 1993 sci-fi horror film about veteran Lance Henriksen following an experimental and genetically enhanced dog named Max who forms a bond with an unwitting journalist, played by Ally Sheedy of Wargames And Short circuit. This bond will lead to an obsessive possessiveness that pushes Max to defend her new friend in a ferocious and brutal way, sowing corpses ranging from the incautious robber to the woman’s “inconvenient” boyfriend.

M3GAN as well as excellent entertainment also provides food for discussion, with respect to the impact of too much technology on the growth and emotional development of children. In the film the protagonist Allison Williams, seen in horror films Escape – Get Out And Perfectionreveals a parental inability to mediate between the use of M3GAN at a recreational level, i.e. as a toy, and that of a surrogate mother / older sister, who carries her niece Cady, played by Violet McGraw (Doctor Sleep, TV series The Haunting) , to develop a real addiction to the hi-tech doll, with all the aftermath linked to it such as fits of anger and inability to relate to others.

M3GAN, review: the evolution of techno-horror ironically looks at the slasher