Review of 'M3Gan 2.0': robots are aware of themselves and so are the laughs

“M3Gan 2.0” is another brilliant showcase for its violent antiheroin, an artificially intelligent doll with little consideration for human life. In the new film, there are two of them: meet Amelia, a lithable blonde who opens the film by decimating a bunker somewhere near the border of Türkiye and Iran. The name of the robot girl represents the logistics of autonomous military commitment and Android infiltration, and one can imagine the true White House asking if we can really build it.

This incipient franchise has re -wired horror to action comedy. Greater and dumb than the success of 2022, “M3Gan 2.0” is content to be the disturbing spinner of this summer: a fun that soon forgets. You can easily accuse the director who returns Gerard Johnstone (who has also taken care of the script writing tasks) of assembling him from the nuts and screws of other films. He is not hiding his influences, including “The Terminator”, “Metropolis” and the theatricality that turned the head of “The Exorcist”. It is a Magpie movie that is happy to give the public the things of Tenselly they want, that is, two robots hitting the wi-fi of each other. But Johnstone creates openings for his own sense of furry humor. I am excited to monitor the promising New Zealander.

The Snippy robot begins the film with its destroyed body but its ego as great as ever. M3Gan, with the voice of Jenna Davis and embodied by an animatronic puppet and the young dancer Amie Donald, will be rebuilt and built better, and higher, since the Donald, physically endowed, is 12 to 15 years. As an intermediate step, M3Gan temporarily puts himself in a Bot Bot Hands toala called Moxie, which seems to be an internal step of Moxie. Released in 2020 that was abruptly tilted last year, showing children a sad starting lesson and, in essence, death. (You can find online videos of people who say goodbye to their comatoso friend).

Meanwhile, the creator of M3Gan, Gemma (a Droll Allison Williams), is out of prison and changes his name as an anti-technology crusade. “You wouldn't give your child cocaine, why would you give them a smartphone?” She hectares, while her soft and well Christian boyfriend (Aristotle Athari) recruits the United Nations to fight omnipotence of AI. Cady (Violet McGraw), the 12 -year -old orphan niece of Gemma, wants a computer career. Gemma prefers to concentrate on football.

Intelligently, these films do not create a false dichotomy between tender humans and cold machinery. Gemma interpersonal skills could use an update. She can't connect with her young position. Hilarious and hypocritical, orders Cady with zero respect for the free agency of the child. When Cady insists that he does not have sleepy enough to go to bed, Gemma breaks, “take a melatonin.”

What interests Johnstone here is how biological and synthetic beings mix. Gemma and his colleagues Cole and Tess (Brian Jordan Álvarez and Jen Van EPP) are designing a mechanized exoskeleton that would allow a human worker to throw the concrete blocks as bristically as a penny (although when he goes out, school cannot leave the suit to use the bath). Its potential multimillionaire investor, Alton (Jemaine Clement, whose oily lust can remind a employee of the recent government), has a neural chip in its temple that has layers an invisible computer screen on its retinas. Flashing his eyes to take photographs, this repellent technology brother seems so ridiculous that at half a work if his innovation is false, the new Emperor Code. But when Amelia (Ivanna Sakhno) uses her eyeballs against him, we enjoy Alton realizing how unfortunate she looks.

The plot here is the same that we will continue to repeat until the Technofeudalist Geeks today stop inventing things that most people do not want. (Then, probably forever). Amelia wants access to the computer cloud that controls all facets of our existence, from the electricity grid to financial markets. There is a persecution, although truncated, in which Amelia treats humans as obstacles, throwing us into traffic freezing scooters and releasing cash from the ATMs of the sidewalk.

On a more intimate scale, the new rental of the Gemma and Cady Bay area is an intelligent house where everything is a polytergeist potential, from the ice dispenser to the void. They thought M3Gan was dead; It turns out that she is the ghost in her machines. The film is not afraid in the least. But then, it is scary to tell how many things he possesses that they are not really under their control, and, more scary, how difficult it is to stop this invasion of the house. Does anyone really need your authorized refrigerator to ask for more eggs?

“M3Gan 2.0” is in the background a movie B about a technological arms race that fought for femmebots with literal balancers. It is Dopey by design. At least Johnstone hits the premise. There is not only a secret den, there are three! – And everyone has their own playful revelation. Later, he pretends a physical comedy rhythm in which Gemma is delighted to realize that she looks more like M3Gan than she thinks. I never felt so moved by M3Gan-Power-and's argument that he has a soul (“I'm not anyone's toy,” he growls). And the scene in which she and Gemma Bond begin as a growl, but makes us howling when the doll goes too far and begins to sing another pop song by Cringey, a great gag will receive from the last film.

Most of the obvious yuks are striking and hollow: of course, M3Gan will dance. Of course, M3Gan will become a flying squirrel suit and will rise on the trees. Of course, an improved intelligent sports car will hastily with the musical music of “Knight Rider.” That laughs reflective, but mostly reminds us that the so -called today's great inventors only want their childhood toys to be real.

But what intrigues me on Johnstone are the jokes that barely involve M3Gan at all. The most surprising laugh in the first film occurred when a detective laughed when he described the murder of a small child. Killer dolls, we have. However, this was the copy character seen in each genre film that acts primarily against its programming. Here, that humor has gone viral, it is now in each scene, insisting that humanity itself is fundamentally strange and unpredictable.

The robot is the raffle, but would see “M3Gan 2.0” for people. And stay for the discharge of responsibility for final credits: “This work cannot be used to train AI.” Good luck with that.