M3GAN (2022)
Directed by Gerard Johnstone
A brilliant toy company roboticist uses artificial intelligence to develop M3GAN, a life-like doll programmed to emotionally bond with her newly orphaned niece. But when the doll's programming works too well, she becomes overprotective of her new friend with terrifying results.
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38 films that influenced M3GAN
What critics say influenced M3GAN
It’s evident that director Gerard Johnstone was heavily influenced by James Cameron’s “The Terminator” and Tom Holland’s “Child’s Play” as he borrows elements from both movies and utilizes them to good effect.
“M3GAN” (pronounced “megan”) can now join the 1988 “Child’s Play” movie (which introduced the murderous Chucky toy doll) as one of the all-time most memorable “killer doll” movies, gaining legions of fans and inspiring countless horror costumes.
Over three decades since Chucky first hit the screen with 1988’s Child’s Play , the killer doll genre gets a next-gen upgrade with M3GAN .
Wan no oculta que estamos frente a una cruza entre La Mala Semilla ( The Bad Seed , 1956), de Mervyn LeRoy, Las Esposas de Stepford ( The Stepford Wives , 1975), de Bryan Forbes, Chucky: El Muñeco Diabólico ( Child’s Play , 1988), de Tom Holland, Hardware (1990), de Richard Stanley, y La Huérfana ( Orphan , 2009), de Jaume Collet-Serra, e incluso coquetea con el slasher una vez que nuestra muñeca tuneada avant-garde desata su furia contra todos aquellos que amenazan física o psicológicamente a Cady, como el perro de la vecina Celia (Lori Dungey), un animal que se abalanza contra el androide y la niña cuando ambos osan entrar en la morada contigua, o un purrete psicópata llamado Brandon (Jack Cassidy), quien “viola” simbólicamente a M3GAN -esto es el mainstream yanqui, casi todo está vedado para lograr una baja calificación por edad para el estreno masivo en salas- cuando se lleva a la muñeca, la tira al suelo, le saca un zapato, la golpea en la cara e incluso le agarra el pelo, ganándose q…
It’s evident that director Gerard Johnstone was heavily influenced by James Cameron’s “The Terminator” and Tom Holland’s “Child’s Play” as he borrows elements from both movies and utilizes them to good effect.
Perhaps, but for now, we’ll stick with the cinematic version, which offers various homages to movies “The Terminator,” and, of course, “Child’s Play.”
At least the film builds to a satisfying climax, which seems like it was taken straight out of The Terminator .
More than just a Child’s Play or Orphan rip-off — no matter how inevitable the comparisons are — this is a film beholden to concept more than formula, which is the key to its many delights.
For one thing, it’s hamstrung by a PG-13 rating which prevents it from being as nasty as one senses it might be (the high water mark for this sort of film remains Jaume Collet-Serra’s Orphan, and I fear the window may have already closed in which a major studio might release a film capable of competing).
Wan no oculta que estamos frente a una cruza entre La Mala Semilla ( The Bad Seed , 1956), de Mervyn LeRoy, Las Esposas de Stepford ( The Stepford Wives , 1975), de Bryan Forbes, Chucky: El Muñeco Diabólico ( Child’s Play , 1988), de Tom Holland, Hardware (1990), de Richard Stanley, y La Huérfana ( Orphan , 2009), de Jaume Collet-Serra, e incluso coquetea con el slasher una vez que nuestra muñeca tuneada avant-garde desata su furia contra todos aquellos que amenazan física o psicológicamente a Cady, como el perro de la vecina Celia (Lori Dungey), un animal que se abalanza contra el androide y la niña cuando ambos osan entrar en la morada contigua, o un purrete psicópata llamado Brandon (Jack Cassidy), quien “viola” simbólicamente a M3GAN -esto es el mainstream yanqui, casi todo está vedado para lograr una baja calificación por edad para el estreno masivo en salas- cuando se lleva a la muñeca, la tira al suelo, le saca un zapato, la golpea en la cara e incluso le agarra el pelo, ganándose q…
The kind of thriller which echoes the likes of The Bad Seed (1956) and The Good Son (1993).
Wan no oculta que estamos frente a una cruza entre La Mala Semilla ( The Bad Seed , 1956), de Mervyn LeRoy, Las Esposas de Stepford ( The Stepford Wives , 1975), de Bryan Forbes, Chucky: El Muñeco Diabólico ( Child’s Play , 1988), de Tom Holland, Hardware (1990), de Richard Stanley, y La Huérfana ( Orphan , 2009), de Jaume Collet-Serra, e incluso coquetea con el slasher una vez que nuestra muñeca tuneada avant-garde desata su furia contra todos aquellos que amenazan física o psicológicamente a Cady, como el perro de la vecina Celia (Lori Dungey), un animal que se abalanza contra el androide y la niña cuando ambos osan entrar en la morada contigua, o un purrete psicópata llamado Brandon (Jack Cassidy), quien “viola” simbólicamente a M3GAN -esto es el mainstream yanqui, casi todo está vedado para lograr una baja calificación por edad para el estreno masivo en salas- cuando se lleva a la muñeca, la tira al suelo, le saca un zapato, la golpea en la cara e incluso le agarra el pelo, ganándose q…
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But as it is, I think the creators – producers James Wan and Blumhouse, writer Akela Cooper and director Gerard Johnstone – just wanted to have fun with its high concept, which is also reminiscent of movies like War Games (1983) and Weird Science (1985).”
The kind of thriller which echoes the likes of The Bad Seed (1956) and The Good Son (1993).
Stanley Kubrick tried to warn us when HAL 9000 staged a mutiny in 2001: A Space Odyssey .
It can be thought-provoking life After Yang , menacing like 2001: A Space Odyssey , or could flip about in between, such as Lost in Space .
Directed by Gerard Johnstone, M3GAN is what happens when a bunch of genius toy developers who have never watched Terminator , Age of Ultron , 2001 A Space Odyssey , or any evil robot movie ever made decide it is a great idea to create a child android as a companion for children.
From Fritz Lang’s “Metropolis” to James Cameron ‘s “Terminator” , countless directors have conveyed to us the fears of creating something beyond our control.
Pero no debemos olvidar que todo esto está profundamente hundido en el origen del género de ciencia ficción que pone al servicio del terror en este largometraje y viene reflejando otro tema presente en el mismo, el espanto del hombre mirando al abismo de la propia creación cuando juega a ser dios, asunto tan clásico como la propia novela Frankenstein o el moderno Prometeo, de Mary Shelley, y el primer clásico del cine de ciencia ficción adulto y completo, Metrópolis (1927), de Frtiz Lang.
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Nor has she watched Deadly Friend – starring the best Buffy, 80s Kristy Swanson – because then she would already know robots are never your pal once you put the remote down.
Although the automatic correlation to make with M3GAN is that it’s a mere pale imitation of the Child’s Play movies (particularly the 2019 one), at the core of the story is “the Baby Boom narrative.”