Produced by Blumhouse and James Wan, via his company Atomic Monster, M3GAN is a continuation of the Annabelle franchise, initiated in 2014 by John Leonetti. Given the indigestible quality of the three parts devoted to the evil doll from the Conjuringverse and the obvious insipidity of The Nun, we could harbor some fears about this project featuring this killer and robotic creature. However, astonishment is in order, because M3GAN produces quite the opposite effect.
Produced by Blumhouse and James Wan, via his company Atomic Monster, M3GAN is a continuation of the Annabelle franchise, initiated in 2014 by John Leonetti. Given the indigestible quality of the three parts devoted to the evil doll from the Conjuringverse and the obvious insipidity of The Nun, we could harbor some fears about this project featuring this killer and robotic creature. However, astonishment is in order, because M3GAN produces quite the opposite effect. Indeed, the satisfaction felt in front of this film seems due to a remarkable combination of scriptwriting qualities and effective production. James Wan, who renewed horror cinema with Conjuring: The Warren Files, Insidious or Dead Silence, finds his good pen again, four years after having lost it with the story of the Nun Valak. Assisted by Akela Cooper for the writing, he produces an interesting scenario, helped by an inspired Gerard Johnstone at the level of the direction. The New Zealand filmmaker, for whom this is the second feature film, suggests skills in the field of horror, with a film bringing together horror and societal subjects, a first for a Blumhouse production.
Gemma, a roboticist in a large company, spends her time designing products for children. By making a doll capable of analyzing and observing behavior, the young woman does not suspect for a single second that her invention, which is supposed to become revolutionary, constitutes a danger for her family.
Under its horrific attractions, is M3GAN the reflection of a fragile and destabilized society? Yes, as well as a sick environment where interpersonal relationships are severely lacking in binding.
Speaking of the advent of futuristic and sophisticated technology, M3GAN proceeds to a tangible exploration of the human world ruled by the power of artificial intelligence. Thus, the film explicitly detaches itself from any horrific excessive temptation, to rather question us on the usefulness of these robots dedicated to alleviating the worst sufferings.
The question arises when watching M3GAN, a great parable about our society dominated by growing technological innovation, where robotization is nibbling away at ground each year. By placing his story in the heart of a toy manufacturing company, James Wan embarks on an analysis of consumption patterns, a kind of flourishing business where creativity is combined with profitability. The character of M3GAN, created to satisfy the greatest number of children, is used here as a concept to comfort little Cady, whose parents were killed in a car accident. Between experimentation and conceptualization, this machine invented from scratch by humans plays the role of companion, like a bandage healing trauma. What this film raises reveals a disturbing message, that of a system where the artificial takes precedence over real life, where robotic skills make up for the lack of dialogue and various communications. Here is the major societal issue that this film questions, with humanity taking on the role of foil in the face of these technological creatures whose possibilities are endless. Placed in the foreground, this intelligent force serves as a substitute. Cady’s relationship with M3GAN is first defined by trust and the ability to understand emotions. Thus, this relationship becomes privileged, the doll practically taking on the function of protector and maternal substitute. Here is a notable difference compared to Chucky or Annabelle. In this movie, we first have a doll caring about poor Cady, even if it means killing anyone who wishes him harm. This almost empathetic representation, something so rare in horror cinema, gives all its spice to this film which leaves importance to emotions, instead of drifting directly into outrageous horror, a trap into which directors eager to provide feelings.
This is probably the common point that unites Gerard Johnstone and James Wan. Seeing Housebound, released in 2014, we can say that the styles are similar, and that the choice of director was clearly needed, and rightly so. Undoubtedly influenced by his American colleague, the New Zealander leaves his mark, with a staging full of inspiration, producing some scenes of formidable efficiency. Surely not liking bloody outpourings, he prefers a gradual rise in tension, gives depth to his characters by explaining their psychological functioning during the first hour. The absence of any hint of violence gives originality to this film, and a suspense that sets in for a long time. By justifying his decision to prioritize emotion over action, Gérard Johnstone follows a narrative pattern that bears little resemblance to the latest Blumhouse productions, apart from Scott Derrickson’s Black Phone. We are then more attracted by the nature of the relationships than by the horror side that emerges in particular in the last segment. In this final part, M3GAN turns into a great threat, determined to do battle with its designers. Nevertheless, the end reserves a specific interpretation, since this desire for revenge reinforces the entire argument of this film, namely the destruction of a humanity eaten away by incommunicability, and itself destructive. It also indicates that technologies obviously cannot substitute for humans. Under its horrific attractions, is M3GAN the reflection of a fragile and destabilized society?? Yes, as well as a sick environment where interpersonal relationships are severely lacking in binding. Allison Williams plays a designer interested in her craft, but whose limited social skills ultimately give credence to her robotic invention. What a good surprise this entertaining film, even offering a reflection? exciting!
qsade qsade qsade qsade qsade qsade qsade