Morgan

'Morgan' movie poster

Release: Friday, September 2, 2016

[Theater]

Written by: Seth W. Owen

Directed by: Luke Scott

No movie, especially one dabbling in the science fiction genre, has an obligation to make the viewer feel all warm and cuddly inside. You can be both the coldhearted bastard and The Year’s Best Movie, but if you plan on being as brutally dispassionate as this year’s attempt at Ex Machina-ing the AI subgenre back to life, you better have something interesting to say.

Morgan‘s got nothing. What it does have though are 90 of the most unpleasant, uninteresting minutes I’ve spent at the movies this year.

There were only four of us in my 3:45 screening and the film played out as though it were anticipating as much. You might attribute the film’s disinterest in engaging the viewer to Scott W. Owen’s thoroughly unoriginal screenplay, a story about the dark side of cutting-edge science so bland you sit there realizing that you’re thinking about how bland it is. Annoyingly that meta thought begets another. And then another, and soon enough, twenty minutes have gone by and still nothing’s happened. Oh, look. Time to refill the coke and popcorn. (Spoiler alert: do it in the first 45 minutes because you won’t miss a thing.)

Unfortunately though it’s a real team effort, as the son of the great Ridley Scott doesn’t steer the project in any meaningful direction with an uninspired vision that substitutes substantive scientific and/or philosophical questioning for grisly and pretty cruel action sequences. There are so many questions. What makes Morgan special? Why should we believe she’s the AI creation of the cinematic year? What is her true potential, what is her purpose? Can she really be controlled? Should she be? And the million dollar one: why should we care, about her or this world she inhabits?

If foreshadowing doesn’t destroy Morgan‘s shot at profundity, then it’s a lack of depth and substance. There’s no extrapolation as to what this says about where we are in society, only easy answers — solutions tailor-made for this specific narrative. All the bloody hand-to-hand combat reserved for the ending is an overt solution to the problems introduced in this dreary, monochromatic world. What makes Morgan special? This karate chop! That crazy look in her eyes. (It sure isn’t that fucking boring hoodie.) Why should we believe she’s the year’s coolest AI creation? Because she’s a murderer, with a lust for blood not seen since Ted Bundy. What is her true potential? To be more Ted Bundy than Ted Bundy. Why should we care? Um . . .

The story takes a more political/business approach to the world of scientific endeavors, one of its few distinctive features. Morgan focuses on the tension between a corporate entity seeking total control and the idealistic virtues of those working directly on the company-funded Morgan Project. It pits Kate Mara‘s supremely unfriendly risk manager Lee Weathers against the strangely more sociable project overseers, a group that includes doctors Simon Ziegler (Toby Jones), husband-and-wife duo Darren and Brenda Finch (Chris Sullivan and Vinette Robinson), Amy Menser (Rose Leslie), and Lui Cheng (Michelle Yeoh). After an incident in which Morgan attacked another scientist, played by Jennifer Jason Leigh in the second role this year that has required her to cover her face in physical-abuse make-up, Lee is called in to assess whether the project is one still worth pursuing or if it needs to be terminated.

Mara may not look the part, but she kind of does feel like The Terminator, and Leigh’s bedridden scientist even calls her “a goddamn assassin.” She’s here on business and won’t leave until that’s finished. From the moment she appears Mara delivers each of her lines in the same monotone, several inflections away from sounding like a real person. It’s actually a pretty terrible performance from a reliable thesp. (But not as terrible as the ending.) Corporate red tape wears out its welcome quickly with Ziegler and his colleagues. Perpetually on the defensive, the team continues trying to justify Morgan’s sudden outburst as anomalous. Morgan describes it as “an error.” Nonetheless, a psychiatrist is brought in for an evaluation. It’s Paul Giamatti, so at least you know what you’re going to get out of him. And he surely delivers, pushing Morgan to the limits as he questions why she thinks she is alive. Why she thinks the people around her are her friends.

Judged through a tedious first section and an even slower second act, Morgan isn’t very eventful but it’s well-crafted. A reasonable amount of tension is generated from our ignorance to what Morgan is capable of doing or what she is actually going to do to her captors once she gets loose. (An event we await with bated breaths.) Mara is a constant bummer but the rest of the characters are fairly likable in their restricted capacities. Anya Taylor-Joy (the break-out star from this year’s The Witch) is for some time empathetic and her distinctive features make for a suitable alien-like presence. Boyd Holbrook plays a hunk with serious culinary skills. Because we needed that for levity, I guess, but I’ll take it if everyone else is just going to be a misery to be around.

But when we’re exposed to what the filmmakers have in store for us having waded through a lot of nothingness, the wheels fall right off the wagon, spectacularly. Who had M. Night Shyamalan on speed dial for that big reveal? It has his fingerprints all over it. In fact his sense of atmosphere and ability to maintain tension makes it feel like Morgan doesn’t have any Scott blood running in its veins at all. Slavishly adhering to structure and with no personality of its own, this Ex Machina wannabe has been conditioned to not think for itself.

Recommendation: Slow, unoriginal and featuring an uneasy mix of cerebral meditation and shocking violence, Morgan gives me too many reasons to call this just a total freaking mess. As I personally wasn’t hugely anticipating it, calling it a disappointment might be a stretch but it certainly is disappointING that good actors and a reliable premise, granted a thoroughly worn out one at this point, aren’t enough to bring it around. Film also finishes on one of the lamest notes I have seen since Now You See Me, so unless you’re willing to risk leaving a movie wondering why you even bothered, I’d have to say keep a respectable distance from this one.

Rated: R

Running Time: 92 mins.

Quoted: “There was joy in her heart, before we shoved her back into that box.”

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Photo credits: http://www.screenrant.com; http://www.foxmovies.com 

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21 thoughts on “Morgan

  1. Pingback: Paul G – #8 | digitalshortbread

  2. This is a shame! I hoped they’d made a kick arse scary sci-fi human / hybrid movie to kick Splice’s butt lol. (terrible film)

    Though I feared from the trailer it looked a bit slow paced (tedious). Nice review Tom! Will wait for DVD 🙂

    • I’m not usually keeping up with the markets of each movie I’m seeing, and I really should. But it doesn’t surprise me this one hasn’t yet (or if ever) reaches you. It’s jut not good enough. It does absolutely nothing new from countless other movies and it’s paced like a stoned snail.

  3. Oh dear 😦 I didn’t think it could be as brilliant as Ex Machina (that would take some doing), but I didn’t think it would be this flat 😦 And I was looking forward to checking this out.

    • Unfortunately dear friend, as much as it pains me, yah — I have to crap all over this movie. 😦 :O

      It’s just a lame, impishly written copy of E.Ma. in my opinion, though there are some pretty good parts here. It’s just so damn slow though and damn, Kate Mara is. Um, bad.

      Maybe give it a shot still and who knows, you might find something to like about it, but I was surprised to see its really low Audience rating on RT . . .

      • Meh, nothing quite like when a movie has potential and just never goes for it.

        I don’t like Kate Mara at all, so I believe you when you say it.

        Well, I will check it out eventually just to see what it is all about, but it really is getting quite the beating.

    • It all just turns out so bland, unoriginal and at times so woefully badly written it’s as though a child stumbled onto set, murdered the entire crew, minus the actors, and continued shooting the film (and finished on schedule, before he had to change his diapers of course, and take a nap.) Fuck this movie.

  4. Dude, I went against your words. One of those things where you kind of commit in your mind to watch a few days beforehand, no matter the words you hear.

    Haven’t been this disappointed in a sci-fi since last year’s Self/less. Giamatti provides fleeting entertainment, and Anya Taylor-Joy was good. Everything else I cared little or nothing for.

    • Yeah Ryan it’s a real shame given that I’m not the only one thinking this way. Richard Roeper’s piece in the Sun-Times was pretty rough. I too thought this looked really cool and had promise. To be fair to the film and all the people who contributed, I did appreciate the cold, clinical feel to it. This is avery, very unhappy film and I don’t think it needed to carry some level of positivity to be successful. But it did need to be interesting, and unfortunately it just wasn’t

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